John Moore worked as a scenic artist at Sosman & Landis in 1885. His name was included in a list of individuals who made donations to the Grant Memorial Fund in Chicago. On August 2, 1885, the Chicago Tribune published a list of “Thousands contributing their dollars and dimes to the memorial fund” (page 9). John Moore was included as part of the Sosman & Landis staff, having contributed $1.
After weeks of tracking down numerous artists named John Moore who worked during the late-nineteenth century and early-twentieth century, I struck gold in California. It was Moore’s ending that brought me back to his beginning. All I needed was an approximate birth year and connection to the theatre.
On Jan 20, 1933, The Placerville Mountain Democrat announced: “Old-Time Trouper Dies; Funeral Held on Monday” (page 8):
“John Moore, 67, a native of Boston, who spent the last years of his life as a scenic artist for manager Frank Atkins, of the Empire Theatre, died on Friday. The funeral services were held on Monday from the Dillinger mortuary chapel, the Rev. John Barrett officiating. Burial was in Middletown cemetery.”
With this little bit of information, I was able to zero-in on scenic artist John Moore. He was born on April 4, 1866, in Hingham, Massachusetts. For geographical context, Hingham is situated on the south end of Boston Harbor, in Hingham Bay. It made sense that Moore told people he was from Boston, and not Hingham, as Boston was much more identifiable to those from far way.
I was thrilled to have a beginning, but there was so much more. His 1933 obituary continued:
“John Moore has no known surviving relatives. Little is known of him save that he was a veteran of the theatrical profession in every sense and meaning of the word. At the age of sixteen, he left his home in Boston and for more than half a century engaged in various branches of the theatrical business. He traveled with the old-time wagon shows, the circuses, with stock companies, and road shows and in vaudeville. He was advance man, publicity man, an actor, scene-shifter and sometimes nursemaid to the elephants. But always, he was a scenic artist and a good one, too, as his work for the empire theatre has shown.”
Moore’s relatives may have predeceased him, but he certainly had a “theatrical family” who mourned his passing. John Moore was remembered by those who listened to his stories and considered him to be “a veteran of the theatrical profession in every sense and meaning of the word.” That is quite a compliment. When reading that line, I understood why it was so difficult to track down Moore’s life and career; he was constantly on the road.
Of all the obituaries that I have read, Moore’s managed to touch my heart in just two short lines. Someone cared enough to write, “He was advance man, publicity man, an actor, scene-shifter and sometimes nursemaid to the elephants. But always, he was a scenic artist and a good one, too, as his work for the Empire Theatre has shown.”
This brought me back his early days in the theatre. Moore was 19 years old when he painted for Sosman & Landis. This was three years after he left Boston. In 1885 Moore was listed in the Chicago Directory as a painter, living at 2329 LaSalle. In addition to working as a scenic artist, Moore also performed at the Academy of Music in Chicago. On Sept. 13, 1885, John Moore was listed as an actor at the Academy of Music, playing the role of Rushton in a revival of “The World.” The article also reported, “It will be produced under the management of Dickson & Joel, with new scenery, including the great raft scene, the departure from Cape Town, explosion in midocean, and the escape from the asylum. All the original novel scenic and mechanical effects will be introduced” (page 13).
Moore left Chicago by 1886 and headed south to Kansas City. From 1886 to 1896, he was sporadically listed in the Kansas City Directory as a scenic artist working, often working for for L. R. Close and Co.
This places Moore with the same group of scenic artists who constituted the main labor pool for Sosman & Landis, L. R. Close & Co., and L. L. Graham. Close and Graham both worked as Sosman & Landis, as well as founding their own studios. Keep in mind that scenic artists were constantly shuffled between shops by studio owners. Scenic studios formed alliances and were often listed as affiliates in various publications.
Furthermore, Sosman & Landis ran several branch offices, including one in Kansas City. Both Close and Graham managed the Sosman & Landis branch office while conducting business at their own Kansas City scenic studios in the 1880s and 1890s. L. R. Close primarily worked in Kansas City from 1883 to 1894, when Close relocating to Chicago. From 1895 until his passing in 1901, Close worked as a traveling salesman at Sosman & Landis.
Moore’s listing in the Kansas City directory from 1886 to 1896 suggests that he was constantly on the move. Moore lived at six different addresses over the course of ten years during his time in Kansas City. This was not uncommon, as scenic artists traveled constantly, delivering scenery from one opera house to the next, or traveling with road shows.
Here are the City Directory listings for John Moore in the Kansas City, Missouri:
1886 Moore, John, scenic artist, L. R. Close Co., bds Tiltons Hotel
1887 Moore, John, artist, L. R. & Co. Close rms 516 B’way
1889 Moore, John, artist, L. R. Close & Co., rms 119 W 5th
1891 Moore, John, artist, L. R. Close & Co. rms Cherry nw cor 5th
1892 Moore, John, artist, r 524 e 5th
1896 Kansas City Directory Moore, John, artist KC Scenic Co. b 2337 Grand av
A few things…516 Broadway was the business address for L. R. Close & Co. This meant that in 1887. Moore was rooming at the studio and accepting his mail there. Many of the scenic artists workin for both Close and Graham listed the studio address as their residence. This was because they were constantly on the road, going from one venue to the next.
Between 1897 and 1922, I lose track of Moore. There are plenty of John Moore’s working in the poplar entertainment industry; I just don’t know if they are the same “John Moore.” This is likely when his career took a series of twists and turns, as he “traveled with the old-time wagon shows, the circuses, with stock companies, and road shows and in vaudeville.” As mentioned in his obituary: “He was advance man, publicity man, an actor, scene-shifter and sometimes nursemaid to the elephants. But always, he was a scenic artist and a good one, too, as his work for the Empire Theatre has shown.”
The next mention of Moore’s scenic art activities ties him to northern California, in the Sacramento region.
By the early 1920s, Moore became associated with actor Will Maylon and the Maylon Players. Maylon, and his wife, Caroline Edwards, traveled with a small group of performers, a technical director (Leonard Bouford), and a scenic artist (John Moore). Advertisements highlighted Maylon’s US military service; he fought overseas during WWI, with the 40th Division in France.
In 1921, the Maylon Players primarily performed in northern California towns including, Red Bluff, Gridley, Corning, Oroville, Chico, Calusa, Lincoln, and Marysville. It is at this time that Moore settled in Marysville, California and began making local newspaper headlines. In 1922, the Maylon Players selected Marysville, California, for their headquarters. For geographical context, Marysville is the county seat of Yuba County, situated at the junction of the Yuba and Feather Rivers on the western slope of the Sierra Nevada mountains.
Detail from the map of railroads to Yuba County, California.
On Sept. 13, 1922, the Marysville Daily Appeal announced (page 7): “Marysville To Be Headquarters For Maylon Players. Coming back stronger than ever the Maylon Players will open at the Atkins theatre Monday, September 18, in the comedy sketch ‘An Indiana Romance.’ The Maylon Players, always a favorite with Marysville audiences have been enlarged until today they stand premiere before the coast wide stock organizations as a leader in their particular line of endeavor. Led by Mrs. Lulu Wasley, the grand old lady of stagedom, loved and revered by all good people, the Maylon Players with their new scenic effects, costuming and real acting are coming home. The company will make their headquarters in Marysville for the season, and will become one of the big families of this city. Marysville will this year be given the first presentations of the Maylon Players’ activities. All business concerning the placing of plays the painting of scenery and other matter pertaining to the company will be done in Marysville.”
On Sept 20, 1922, the Oroville Daily Register reported, “An Indian Romance” [by the Maylon players] which opens tonight, is a play that follows a success in New York run recently was presented at the Alcazar Theatre in San Francisco. Mr. John Moore, considered one of the cleverest scenic artists in California, has designed come beautiful settings for this play. Petaluma critics were lavish in their praise of Mr. Moore’s mounting of the Maylon production” (page 3). On Oct. 11, 1922, the Oroville Daily Reporter reported, “The scenes of the coming play especially painted for this great production by John Moore, veteran scenic artist, in the Maylon Studio at Marysville, are taken from an actual Cantina of Ensenada, Mexico.” (p. 5).
The Maylon Players productions were very well-received in Marysville, with Moore’s work repeatedly mentioned in the local newspaper. On Oct 22, 1922, the Daily Appeal reported, “the work of John Moore scenic artist placed an atmosphere of old Mexico that was very realistic” (page 8). On Oct. 25, 1922, the Daily Appeal reported, “Packed House Is Pleased by Show Given by Maylons (page 1). The article continued, “There was no disappointed theatregoers last night leaving the packed Atkins theatre, where they viewed the work of the Maylon Players in producing “Bought and Paid For” a play that from start to finish rang true to those little incidents of high society life that make for sadness in the hearts of man and wife. The story of Virginia, enacted by Mrs. Ted Maxwell, and that of Afford, man of wealth, but subject to a habit, portrayed by Will Maylon, proved to be a shining vehicle for the little company that lust night packed the theatre. The tale as told before the footlights contained elements of human interest, and high lights of clean comedy with all character portrayals played as only the Maylon players can do. There was Ted Maxwell, is Jimmie. who falls into a fortune of wages in his rise from $l4 to $100 per, and ‘Mother Wasley in the role of Josephine, the maid. Her part last night was small but well played. Oku, Japanese man-Servant. was creditably portrayed by Leonard Bouford. With his sly, cunning, Japanese manner and his curious, ‘Sense please. Oku.’ he gave a true interpretation of his part. The costuming and scenery proved to all that the head of the popular players was attempting to give Marysville theatre patrons, the best to be had. The scenes were the work of John Moore, scenic artist of the company, and of Bouford, technical director. As an added attraction “Rawling’s bears,” were put through difficult animal acts, to the evident satisfaction of all patrons of the Atkins. These animals show themselves to be well trained. Next week’s play will be “Other People’s Money.”
Atkins Theatre on D Street (right side of street).
The Atkins theater becomes an incentive for Moore to remain in Marysville, after the Maylon Players leave town. Built in 1921, the Atkins Theatre was in the same building as the original Marysville Theatre (c. 1908). It burned down in 1926. Atkins Theatre was rebuilt and later renamed the National Theatre.
Atkins Theatre on D Street in Marysville, California.
Marysville Theatre before it became Atkins Theatre.
Interior of the Marysville Theatre, later renamed the Atkins Theatre. This stage once featured the scenic art of John Moore.
In addition to working for the Maylon Players, Moore secured a variety of other projects in town. On Oct. 14, 1922, the Marysville Daily Appeal reported, “Many of the Egyptian decorations of the Sciot Circus that are attracting wide-spread attention are the work of John Moore, scenic artist of the Will Maylon Players. Moore, has won a good reputation for his work with various stars of the theatrical profession, having produced some of the best scenes ever presented before the public.” (page 5).
That winter, the Maylon Players presented “The Dangerous Age” at Atkins Theatre. Of the scenery, the Daily Appeal described, “The living room of the – Harvard home was portrayed beautifully. From a French window in the distance was seen the lights of a great city, with twinkling stars from a pure sky sending forth a thrilling message over the Harvard home. The scene was one of beauty, entailing much work on the part of Leonard Bouford, technical director, and of John Moore, scenic artist of the Maylon company” (Dec. 13, 1922, page 4).
By 1925, Moore was no longer associated with the Maylon Players. The troop had relocated to Spokane, Washington, and were performing at the Auditorium Theatre. In 1925, The Billboard listed the Maylon Players as including Will Maylon, wife Caroline Edwards (Mrs. Maylon); Lou J. Foote, director; Crawford Eagle, heavy; Grace Van Winkle, Edith Mote, Leonard Bouford, Jack Whittemore and two new members William Ruhl and Louise Miller (Aug 29., 1925 Vol 37 No. 35, page 26).
Moore remained in Marysville, and in 1926 was listed in California voter records, as a scenic artist living in Yuba City. By 1928. Moore was listed as scenic artist at the National Theatre. On Feb 21, 1928, the Appeal-Democrat of Marysville, CA, reported, “platform trimmings were put in place by John Moore scenic artist of the National Theatre. He draped the platform foundations and then painted the draping. He erected the stage set which gave the platform a back wall. He did a good job” (page 7)
The following year, Moore was credited with delivering scenery for the Yuba City Highschool’s production of “Bells of Capistrano.” On April 17, 1929, the Appeal-Democrat reported, “Special scenery with Spanish settings will be used. This scenery was recently painted by John Moore, of the National theatre, scenic artist” (page 12). This production was the first operetta ever given by the Yuba City High School. On April 20, 1929, the Appeal-Democrat commented that Moore’s scenery “greatly added to the atmosphere of ranch life in the early days of California. The opening scene was in the hills at night with a ceremonial fire burning, and Indians grouped around it singing prayers to the Great Father, while the medicine man beat incessantly on his drum. The other scenes were on the ranch, Orteog, which was in trouble due to the disappearance of the great herd that would have paid of the mortgage on the home” (page 16).
That summer, Moore was on the road again, painting scenery for neighboring towns such as Colusa. On Aug. 28, 1929 The Colusa Herald reported, “Yuba Man Paints Drapes for New Gem Theater. John Moore, Marysville scenic artist, has completed a contract whereby the stage of the gem theater here is equipped with new draped and curtains. Moore has outfitted a number of theaters in northern California with scenery. His screen, for moving pictures, is widely used” (page 2).
Moore relocates from Marysville to Placerville in 1930, following Frank Atkins, previous manager of Atkins Theatre in Marysville and likely author of Moore’s obituary. Placerville is approximately 71 miles southeast of Marysville, and due east of Sacramento.
Distances between Marysville, Placerville and Sacramento.
Maysville and Placerville in California.
On Sept. 19, 1930. Atkins opens the Empire Theatre in Placerville. Moore immediately becomes scenic artist for the venue. This is where is important to know a little bit about Atkins. On Sept. 19, 1930, The Mountain Democrat of Placerville reported, “as a youth Mr. Atkins managed the Atkins Theatre at Marysville for his father and at 21 was owner and manager of his business” (page 4). The article also credits Atkins as manager of the Campus Theatre, Berkley, and owner of the Lyric Theatre, Marysville; in Marysville, Atkins’ brother still managed the venue.
Advertisement for the opening of the Empire Theatre in Placerville, California, on Sept. 19, 1930.
Moore continues to accept many other projects, including the design and construction parade floats. On May 29, 1931, Placerville’s Mountain Democrat announced, “There was an ‘Old Freighter’ in the parade driven by Ludwig Peterson. The wagon had been rebuilt by John Moore, the expert decorator at the Empire Theatre, and old timers say that the wagon looked like the real article” (page 4). On June 19, 1931, the “Placerville Mountain Democrat” reported, ““Last week-end was put on by the Native Sons and Daughters in real style, wasn’t it? The float depicting the early days of mining in this vicinity entered in the parade by the Native Sons was certainly attractive. Lots of work to make that float, and if happens that you have not heard who made it, we’ll state that it was the work of John Moore, of the Empire Theatre staff” (page 1).”
Less than 18 months later, Moore has passed away in El Dorado, California, on Jan. 13, 1933. The Mountain Democrat reported that Moore spent the “last years of his life at Empire Theatre.”
The Empire Theatre in Placerville, California.
The Empire Theatre is now home to Empire Antiques in Placerville, California.
The building that once housed the Empire Theatre is still standing, now home to Empire Antiques store. Someone is certainly trying to save this old theatre, as I was able to find some interior images posted to the FB Group “Restore the Empire Theatre Placerville, CA.” Here is a peak into a building that once featured the scenic artworks of John Moore.
In 1885, Karl Boettger was listed as a Sosman & Landis employee, included in a list of employees who made donations that summer to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune” listed Boettger as one of “Thousands contributing their dollars and dimes to the memorial fund” (page 9). Karl Boettger donated $1.
Born in 1864, Boettger emigrated from Germany 1883. Boettger sailed from Antwerp aboard the Belgenland. On April 20, he arrived in New York. The ship was part of the Red Star shipping line, measuring 403’ x 40’ with compound engines, four masts, and an iron hull. In many ways, I know more about the ship that transported Boettger than Boettger himself.
After arriving in the United States, Boettger settled in Chicago and made quick in-roads into the midwestern scene-painting community. In America, Karl soon went by Carl Boettger, anglicizing his first name. By the fall of 1885, he was even listed as part of the Scene Painter’s show, mentioned in the “Art Union” article by John Moran: “…works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr., the late L. Malmsha, C. Boettger, Chas. Ritter, H. Buhler and John Howell Wilson.”
Within three years if his arrival in the United States, Boettger had secured employment, exhibited his fine artworks, and married. On July 10, 1886, Boettger married another German immigrant, Katharine “Katie” M. Rosener. Katherine was born on May 6, 1866, emigrating with her family in 1872.
In 1887, Boettger was living at 160 Crystal, Chicago, listed as a painter…and that is all that I have uncovered about his career!
Listing for Carl Boettger in the 1887 Chicago City Directory.
Boettger passed away on Dec. 4, 1888, just a few months before the birth of his first-born child, Charlotte.
His obituary was published on Dec. 6, 1888, in the “Inter Ocean” –
“BOETTGER – Dec. 4, at No 84 Crystal St, Carl, husband of Kate Boettger, aged 25 years, 3 months, and 4 days. Funeral to-day by carriages to Graceland” (page 8). Graceland Cemetery records list him as “Carl Boetocher, died 12/4/1888.” He is buried in Block 12, grave 451. This is the same person, but you can see how hard it is to trace the lives of some individuals. Many of the difficulties stem from a combination of poor handwriting, human error, and computer software that exacerbates misspellings. I have yet to locate a death certificate or newspaper article that identifies any cause of death. Boettger was only 25 yrs. old when he passed away.
Gravesite of Carl Boettger at Graceland Cemetery in Chicago, Illinois.
Boettger’s daughter, Charlotte P. Boettger, was born on Feb. 13, 1889.
His wife, Kate Boettger, remarried the next year, on May 3, 1890. Her second husband was William S. Bird, a mechanic and gas fitter. Bird was also an immigrant, born in England about 1852. The couple went on to celebrate the birth of two children.
In 1900, the Birds were living at 110 Stewart Avenue in Chicago and their household included: William (45), Katherine (33), Charlotte (11) and Beatrice (8).
Carl’s only child, Charlotte, was married to Frederick J. Nathanson on June 9, 1906; she was 17 yrs. old at the time. Frederick worked as a theatre musician and continued to do so for the next several years. The 1910 census listed Charlotte and Fred Nathanson living with their two children, Mildred D. (3 yrs.) and Richard W. (8 months) at 6800 Union Avenue; the same address as her mother, stepfather, and half-sister Beatrice. Beatrice eventually married Daniel Joseph Kelly, a mechanic who initially worked for Bennet & Davos Co., later becoming primarily a chauffeur. Beatrice and Daniel Kelly continue to live with Kate Bird at 6740 Sangamon. William S. Bird died on March 29, 1918. In 1920, the US Federal Census again listed the Nathanson and Bird families living at 6740 Sangamon in Chicago. The extended family continued to live in Chicago, at Sangamon, until the 1930s; Fred Nathanson was still working as a musician.
Kate Boettger Bord passed away in 1928 and is buried next to her second husband, William, at Evergreen Cemetery.
On Aug 2, 1885, the “Chicago Tribune” published a list of Sosman & Landis employees who contributed to the Grant Memorial Fund. For an understanding of the donations listed below, $1.00 in 1885 is equivalent in purchasing power to about $31.00 today.
The list of Sosman & Landis employees who made donations included:
Sosman & Landis $10.00
Thomas G. Moses $2.00
Henry J. Buhler $2.00
David A. Strong $1.00
George W. Dayton $1.00
J. C. Evans $1.00
Karl Boettger $1.00
Frank E. Gates $1.00
John Moore $1.00
Edward Loitz $1.00
C. W. Carey $1.00
C. M. Crouse $1.00
Frank Lewis $1.00
William Martin $0.50
Frank Ford $0.50
B. P. Lee $0.50
Julius Fehrman $0.50
Fred Miller $0.50
Hugo Schoessling $0.50
Mrs. J. S. Curran $0.50
Ed Donnigan $0.25
Kirke W. Moses $0.25
This post is about J. C. Evans who donated $1 to the Grant Memorial Fund in 1885.
I began researching Evans while waiting for a plane in the Minneapolis airport on January 9, 2023. My destination was Galveston, Texas. I had been hired by the Galveston Scottish Rite to examine the contents of their scenery collection. You could not have imagined my surprised when I began to track down the scenic art career of J. C. Evans (1841-1915), as he worked in Galveston, c. 1867-1880.
Advertisement placed by J. C. Evans in 1873.
The initials “J. C.” were for John Charles, but many people in Galveston called him “Charley.” It was a challenge tracking down the life and career of Evans as his ethnicity continued to shift. Even the end of his life presented more questions than answers.
There are two entries in the Cook County Illinois Death Index for John Evans; this is the same person, buried in the same cemetery. One entry lists his birthplace as Italy: the other lists Cuba. I encountered a very similar issue with the birthplace of Evans and his parents over the course of decades.
The 1880 US Federal census lists Evans mother as Spanish, with his father hailing from England. The 1900 Census indicates that Evans was born at sea, with his father from Spain, and his mother from England. The 1910 census lists his father as Spanish, and his mother from New York.
Spain – Cuba – Italy. I began to wonder if he was passing.
I took a deep dive into Evans’ life, examining name changes, directory listings, travels, and employment, all through the lens of enslaved Texans and the Jim Crow South. I traced the trail of Evans; male born in Texas, c. 1840-1841. I think that I located Evans and his family in East Texas. I certainly learned quite a bit about the region.
If I have tracked the correct J. C. Evans…eventual scenic artist at Sosman & Landis in 1885…here is his story:
As a young man, John C. Evans pops up in the small town of Angelina. You can’t find it now, as 1893 the town’s name was changed from Angelina to Durst. Angelina was in Angelina County, the only Texas county named after a woman. For geographical context, Angelina County lies in the angle between the Neches and Angelina Rivers, two waterways that provided access to Beaumont and other coast ports. Angelina County was also the ONLY East Texas County, and one of a select few throughout the state, that did NOT vote for secession in 1861.
The town of Angelina was settled before to the Civil War, with a post office opening in 1855. In 1850, the population of Angelina reached 1,165 with 196 enslaved residents, although I located only 130 on slave schedules for the county that year. The following slave owners were listed in the slave schedules filed in Angelina County: Solomon Wolfe (50 slaves), L. L. Ewing (35 slaves), Sammie Needham (9 slaves), John F. Robert (3 slaves), William Harrington (7 slaves), John L. Boman, (20 slaves), Gedas Weeks (4 slaves), W. W. Hankes (10 slaves), George R McClay (3 slaves), George Massingill (2 slaves), Gael Hill (6 slaves), Nathan Hicken (4 slaves), Mary Walker (4 slaves), Sarah Goodwin (2 slaves), Camelia Dalerhid (5 slaves), Ephraim Anderson (2 slaves), John Sessions (3 slaves), B Shelt (1 slave), S. Nearn (1 slave), James Ashworth (1 slave), L. F. McFaden (1 slave), A Almirall (7 slaves), Enoch Needham (3 slaves), Jameel Needham (14 slaves), E. H. Jennis (1 slave).
By 1859, the number of enslaved individuals in the Angelina County was purported to be 427, with an estimated value of $269,550. During this time, the cotton industry in the area occupied about 2,048 acres in the county land. Cotton and other goods were floated down the river. In addition to plantation owners, there were many very poor farmers who owned no slaves.
There are a few things to consider about the county of Angelina and the State of Texas between Evans birth in 1840-1841 and his work as a scenic artist by the 1860s. The 1850 and 1860 US Federal Census only reported the names of free black people.
This is only a very small portion of the population as so much of the black population was enslaved. Mixed-race cohabitation was also illegal in many areas and meant that census data may record a black individual as white, and vice versa. In many cases, passing necessitated that individuals physically distance themselves from family members (parents, spouses or children) who could not pass for white. It appears that John C. Evans left his family at the age of 18 and never returned. He headed to Galveston where he began working as a sign painter.
Galveston remained the only major port in Confederate hands at the end of the Civil War. In fact, on June 19, 1865, 2,000 US troops arrived in Galveston Bay, announcing that enslaved people in the state were free by executive decree. At the time, there were approximately 250,000 enslaved people in the State of Texas. Keep in mind that the Emancipation Proclamation was signed on Jan. 1, 1863. Juneteenth is the federal holiday commemorating the abolition of slavery in Texas on June 19, 1865.
This was the world where Evans was born, raised, and began his career as an artist.
Evans was the eldest son of John Evans and Mary H. Evans. His father was listed as a 37-yrs.-old carpenter in the 1850 Census, born in Mississippi. His mother Mary was listed as born in Tennessee. They were purportedly married in 1840 and celebrated the birth of their first child (J. C. Evans) in Texas the following year. According to 1850 and 1860 census reports, all of their ten children were born in Texas, although no county is specified.
The 1860 census listed an 18 yrs. old J. C. Evans as part of the Evans household. Other members included following Evans family members living in Angelina: Mary H. Evans (36), Sarah (16), William (14), Joel H (12), Polly (11), Marion (9), Latimore (7), Benedict (5), and Alice (3). Evans father had died earlier that year, but he may have left well before that. Interestingly, one family tree at www.ancestry.com lists a second spouse for John Evans Sr. – Citha Ann Smith, citing a marriage in 1854. However, I have only located only one marriage for Citha Ann Smith that same years to S. M. Tucker in Cherokee County, Texas; Cherokee County is directly northwest of Angelina County. Everything is a bit too close to completely discount this possible connection, especially since S. M. Tucker was living in Angelina, Texas, in 1850. I have encountered too many illegitimate children and bigamists to believe everything in a census report, especially prior to the Emancipation Proclamation.
18 -yrs.-old John C. Evans listed in the 1860 Census Report, Angelina, Texas.
There were numerous slave owners in the East Texas region with the last name of Evans, individuals who owned children, many listed as “mulatto,” sharing the same age as J. C. Evans, scenic artist. I have no concrete evidence to verify or disprove Evans’ race, especially when considering how enslaved people listed in slave schedules. I will say, there is something that hits you to the core when examining slave schedules; seeing thousands of human beings who are only identified by age, gender, color, and owner. This topic is central to American History, and any attempt to diminish its lasting legacy reveals an underlying desire to repeat it.
Portion of a slave schedule for Angelina County, Texas, 1850.
That being said, Evans’ theatrical endeavors made news by the fall of 1863 when he managed the Southern Dramatic Association. Keep in mind that the Civil War started April 12, 1861, and ended May 13, 1865. Evans first appears in a Houston newspaper on October 23, 1863.
Houston’s “Tri-Weekly Telegraph” published the following announcement:
“Notice. – The Southern Dramatic Association take pleasure in announcing to the ladies and gentlemen of this city and vicinity, that they have employed an efficient Police force to preserve strict order. Polite ushers will be in attendance to seat ladies. Smoking and other nuisances will be strictly prohibited. -J.C. Evans, manager” (page 1). On September 16, 1863, $3380 was raised in Houston by the Southern Dramatic Association to present silver battle medals. They were created from Silver dollars and the only Confederate wartime issued battle medals. These medals commemorated the Battle of Sabine Pass that allowed the Confederacy to maintain control of the Texas coastline for the duration of the Civil War. Here is a link to learn more about the Battle of Sabine Pass and the medals presented by the Southern Dramatic Association: (http://www.reaganscvcamp.org/Newsletters/Volume_8_Issue_7.pdf)
Perkin’s Hall became the home for the Southern Dramatic Association during the war. On January 28, 1864, the “Tri-Weekly Telegraph” reported, “The Southern Dramatic Association will play the thrilling drama called the ‘Guerilla Chief’ again this evening, at Perkins’ Hall. The play is founded on facts that have taken place during this war in Virginia and are of the most truthful and thrilling character. The Hall has been crowded nightly by delighted audiences, and all who have attended pronounce it the best play ever produced on the stage in this city. Mr. John English, the unrivaled actor, and Mrs. Sala sustain the leading characters. If our reader wishes to witness an interesting play, they should not fail to attend” (page 2)
He next appears as a theatre performer on May 2, 1866 (page 4). Mr. J. C. Evans was listed as performing a “comic song” after Mr. and Mrs. Bates production of “Leah the Forsaken; or the Jewish Maiden’s Wrong.”
J. C. Evans as a performer in 1866, Houston.
The first mention of Evans as a scenic artist was in 1866 at Perkin’s Hall in Houston. He delivered scenery for the “Camille” production on April 12, 1866. Houston’s “Daily Telegraph” reported, “J. C. Evans, the scenic artist, had contributed greatly to the success of the play.” Evans worked as both a scenic and decorative painter, initially specializing in fresco and sign painting.
On July 4, 1866, the “Tri-Weekly Telegraph” mentioned scenery by Evans at another Perkin’s Theatre Show, “Aladdin; or the Wonderful Lamp.” The advertisement announced, “Produced after weeks of preparation, and without regard to cost with NREW Scenery by J. C. Evans; New Machinery by J. G. Steele and assistants; New Properties and Appointments by W. L. Forrester; New Dresses and Wardrobe by Job Jameson.”
1866 advertisement listing New Scenery by J. C. Evans.
On May 17, 1867, Houston’s “Tri-Weekly Telegraph” announced:
“A solution. A correspondent sends us the following situation of the ‘Curious Fact,’ published in our columns yesterday: ‘Notwithstanding the removal of the Postoffice, the public are informed that they may still obtain letters of every description at its former locality by applying to J. C. Evan and E. S. Fendwick, house and sign painters. M.J.L.” (page 5).
This was Edward S. Fenwick; Fenwick’s father, Cornelius Cuthbert Fenwick (1815-1874), was an English painter, having passed along the trade to his sons, including Edward (b. New York, 1838), Charles (b. Illinois, 1852), and Fred/Fritz (b. Illinois, 1855). Evans partnership with Fenwick was short-lived, as Fenwick died from yellow fever that fall.
In 1867, Evans worked in both Houston and Galveston. On Aug 22, 1867, “The Galveston Daily News” reported, “Major Dick Dowling has just received from the easel of Charley Evans the handsomest sign in Texas – Evans is without rival in the Trans-Mississippi Department as a sign-writer, and Dick Dowling is a legitimate representative of Bacchus – ‘in a horn.’ (page 2).
Informal articles and stories refer to J. C. Evans as Charley or Charles; John Charles Evans used his middle name quite a bit in Galveston, until his only son came of age.
On Oct. 1, 1868, the “Weekly Telegraph” reported, “We have received from Mr. J. C. Evans, No. 84 Main Street, a bust of Horatio Seymour, executed in plaster. It is a striking likeness of the great statesman, and will place Mr. Evans as an artist, in a new light before the public. The bust is from a photograph recently taken in Utica, the home of Mr. Seymour, and therefore may be relied upon as correct. A specimen of this work can be seen at Marston & Hopkin’s store, on Main Street, or at the office of the TELEGRAPH. Mr. Evans informs us that he is now prepared to supply duplicates at reasonable rates” (page 6).
By the summer of1869, Evans became associated with a local Galveston business – Rice & Baulard.
Rice & Baulard advertisement mentioning J. C. Evans in 1869.
On June 16, 1869, a “Galveston Daily” advertisement announced:
“J. C. Evans, with Rice & Baulard.
Dealers in Paints, Oils, Glass, etc. Wall Paper and Window Shades.
77 Tremont Street, Galveston.
House, Sign, Fresco and Banner Painting.”
Joseph W. Rice and Victor Joseph Baulard established Rice & Baulard in 1850, advertising as dealers of ready mixed paints, window glass, wall papers, oils, and contract painters. Rice was the master painter, with Baulard first working as his assistant, c. 1845-1850. Their advertisements provide a sneak peak into the goods and services they were offering. On March 27, 1866, the “Galveston Daily News” included a Rice & Baulard advertisement noting: “Paints, oils, glass.-we are continually receiving fresh goods in our line from New York, such as WHITE LEAD. Different brands, French and American zinc, Linseed oil, raw and boiled, Turpentine, varnish. American and French glass, single kinds; together with Fire and Artist’s’ colors and tools and prepared canvas, etc. Work executed as usual” (page 4). The firm was later associated with the Galveston Paint Co.
Rice & Baulard’s firm in Galveston, showing a Galveston Paint Co. can of Ready Mixed Paints.
Evans continued to work for Rice & Baulard until the fall of 1868 when he struck out on his own. On Aug 11, 1868, “The Galveston Daily News” reported a series of transparent signs painted “by the skilled hand of our friend ‘Charley Evans’” (page 2). By Sept. 11, 1869, the “Galveston Daily” announced, “Mr. J. C. Evans, the popular sign painter, formerly with Rice & Baulard, has established himself at 220 Tremont Street. Mr. Evans, we understand, has been engaged as a scenic artist at the Galveston Theatre His card will be found in another column” (page 2). After Evans departure from Rice & Baulard, George W. Outterside joined the business.
Evans not only painted scenery for the venue, but also continued to advertise as a local sign painter. On Dec. 4, 1869, advertisement J. C. Evans Sign Painter 220 Tremont Street Galveston
J. C. Evans advertisement from 1869.
Sign painting was still listed as his primary occupation in 1870 Galveston City Directory: “J. C. Evans, Painter (Sign), 220 Tremont, or 23rd street.” This listing changed by 1872: “J. C. Evans, scene painter, Tremont Opera, res Ave. H, bet 18th and 19th St.” Around this time, Evans married and shared a home with his wife and child. Historical records suggest that the marriage took place in 1870, but the age of their child predates that date by several years. The only marriage certificate that I have been able to locate is dated Sept. 1, 1870, New Orleans; John Evans married Julia Kelly. I have yet to confirm these are the correct individuals, as Julia later went by Julia C. Evans or Julia E. Evans, remaining int the Galveston area with their son until the 1880s.
Oct. 16, 1869, “Galveston Daily News” (page 3). For Joe Jefferson’s “Rip Van Winkle”, Evans was credited with special scenery to accompany the touring production. The article reported, “The scenery has never been approached by anything ever put on the stage in this city. Aside from the difference in the size of the stage it would not be appropriate to compare the scenes with that of any other theatre in the country. From first to last they were true to nature, and finished with a degree of precision which can only be attained by a master hand, and being the production of Galveston artist, Mr. J. C. Evans, we take much pleasure in commending the work so faithfully and faultlessly performed. The scenery and effects are really beautiful, and deserving of all the praise that has been bestowed on them.”
A new playhouse was built in Galveston in 1870 on the corner of Tremont and Market, on the old site of Neitch’s. The new stage was described in detail by Joseph Gallegly’s “Footlights on the Border” (1962). Galleghy included an excerpt describing the theatre in his publication, writing:
“‘…in all its appointments an exact counterpart of Booth’s in New York’, extended the entire width of the building and was 39 feet nine inches deep, with a proscenium arch 45 feet in width. The scenery, mounted on rubber rollers, and all machinery for stage operations, were in imitation of similar devices at Booth’s. Footlights of white, red, and blue made possible interesting scenic effects.”
I included this description because it provides one more link with New York. Being a port town, Galveston was directly connected with New York, just like New Orleans. There was a constant stream of individuals traveling from the Gulf to the Eastern seaboard. Despite an ever-expanding network of railway transportation, a major exchange of goods and services was available at Galveston Island. Unlike many Texas communities that fell far inland, there was a close connection with major metropolitan communities linked by major waterways.
In addition to working as the scenic artist, Evans also became the stage manager. On July 25, 1872, “The Galveston Daily News” reported, “The general management of this entertainment devolves upon Mr. J. C. Evans, then whom no better man could possibly have been selected” (page 3). His role at the opera house was repeatedly mentioned in newspaper article. On August 2, 1872, “The Galveston Daily News” reported, “Mr. J. C. Evans, the stage manager, was, as he always is, up to his part. Charley has become an institution of this city, and if you wish to make an enterprise successful, all you have to do is to call on ‘Charley” (page 3).
Evans remained connected with the opera house, while continuing to work throughout the region. On July 4, 1873, The “Daily Mercury” of Houston, Texas, announced.” Artistic.
In another column will be found the card of J. C. Evans, the popular scenic artist and decorator. Mr. Evans has, as scenic artist of the Galveston Opera House, become well known to most people of our State, while his decorations and scenery at the Houston New City Hall and Theatre commands the admiration of every beholder.”
From the fall of 1873 to the spring of 1874, Evans placed advertisements in Houston and Galveston newspapers. On Sept. 27, 1873, the “Houston Daily Mercury” advertised:
“J. C. Evans, Scenic Artist and Fresco Painter.
Orders for public and private Theatrical scenery, Church, Theatrical and Public Hall Decorations promptly attended to Address, Galveston and Houston” (page 3).
On Sept 12, 1873, “The Galveston Daily News” reported on the opening of the remodeled opera house on Market and Tremont street (page 3): “By the way, our Houston friends are preparing for a brisk season. We had the pleasure of examining their new theatre the day before yesterday, under the guidance of scenic artist Mr. Chas. Evans, and find it a very pretty place indeed. The scenery and decorations, got up my Mr. Evans, are artistically executed and would do credit to a much more pretentious establishment than that at Houston” (page 3)…”Perkins Theatre had also been put in repair…” On Sept 16, 1873, “The Galveston Daily News” reported, (page 2) “The illumination of the Academy of music took place at 8 o’clock to-night. The electric light showed well. The scenery, painted by J. C. Evans was magnificent. The mayor and alderman, and many ladies of the city, were present. After the scenery was all shown, Mr. Evans was called out and made a neat speech.”
Evans continued to complete a variety of painting projects in Galveston, including banners for local fire stations. On March 29, 1874, “The Galveston Daily News” announced, “The beautiful banner, recently painted by Mr. J. C. Evans, for Star State Fire Company, No. 3, will be on exhibition tomorrow at Mr. Evan’s studio, No. 166 Twenty-second street. It is a splendid work of art and should be examined by all connoisseurs” (page 4). On April 11, 1874, “The Galveston Daily News” reported, ‘A beautiful banner for Island City Steam Fire Engine Company No. 2 has just been completed by Mr. J. C. Evans and will be exhibited at his studio on Monday next” (page 4).
By 1874, Evans was publicly acknowledged as a Galveston asset. On Feb 18, 1874, “The Galveston Daily News” published a letter to Mr. J. C. Evans in “New Advertisements. Complimentary.”-
“Mr. J. C. Evans:
Dear Sire – We the undersigned citizens of Galveston, having known and esteemed you for many years – both as a man and as an artist – and having witnessed the promptness with which you have always given your personal services to the calls of charity, and the alacrity with which you have contributed to the pleasure of our citizens, desire, in acknowledgment of these, to tender you for a complimentary benefit, and will be glad to have you name a time and place, for the evidence of your approbation” (page 2). A list of 48 names and Evans’ response followed:
“Gentlemen – It is with gratitude that I acknowledge the receipt of your note, tendering me a complimentary benefit. The obligation I feel for this mark of your approbation is enhanced by the feeling and delicate terms in which it is conveyed. Be pleased to accept my thanks; and, if it should suit your convenience, I will name Saturday, February 21, at the Tremont Opera House.
Like many American scenic artists, Evans continued to perform on stage. On June 25, 1874, “The Galveston Daily News” included an advertisement for an event at the Tremont Opera House for Louisiana Sufferers. J. C. Evans was listed as the stage manager and a performer of “Lamentable Facts” alongside, Messrs. Ketchum, Johnson and Shields” (page 2). On Nov. 19, 1874, “The Galveston Daily News” reported, “Mr. J. C. Evans, the well-known scenic artist, played one of the characters to DeBar’s Falstaff at the opera house Monday night” (page 2).
He also continued to complete fine art projects. On Jan. 15, 1875, “The Galveston Daily News” reported, “Portrait of General Lee. A life-size portrait of General R. E. Lee may now be seen in one of the windows of Shaw Brother’s jewelry store, on Tremont street. The portrait was executed by J. C. Evans, Esq. from a photograph of General Lee taken in Richmond, Virginia” (page 4). On Dec. 19, 1875, “The Galveston Daily News” reported, “Promenade Concert given under the auspices of the Mozartina and Island City Glee Clubs at Armory Hall, dec, 29 1875. On which occasion will be given away as prizes thirty-one oil paintings, executed by Mr. J. C. Evans.” (page 2).
Evans listed occupation in the Galveston Directory shifted over the years.
The 1874 Galveston Directory listed, “Charles Evans, painter, 171 e Postoffice.”
The1875 Galveston Directory listed, “J. C. Evans, painter, Opera House, bds. Av. E or Postoffice, bet. 21st and 22d.”
The 1876 Galveston Directory listed decorative painter, bds. 114 e Pst [Postoffice]. Res es 22nd, bet Post and Church.
The 1877 Galveston Directory listed, “J. C. Evans, portrait painter, res 36 Winnie, bet 18th and 19th.
The 1878 Galveston Directory listed, “J. C. Evans, scene painter, res 36 Winnie, bet 18th and 19th.”
In 1878 Evans began to travel farther and farther away from Galveston. On Oct. 27, 1878, the “Galveston Daily” reported, “Mr. J. C. Evans, the artist, has returned to the city from Dallas, where he has been engaged for several months” (page 11). On his return, he established a boarding house. On Oct 28, 1877, “The Galveston Daily News” published the following:
“Two and a half story house, fourteen rooms, newly repaired, suitable for boarding house. J. P. Evans” (page 1). Despite a variety of investments and painting projects, Evans was still associated with the opera house as its business and stage manager.
. On July 6, 1879, the “Galveston Daily” reported,
“Improvements at the Opera House.
A News reporter visited the opera house yesterday and was shown through the entire building by J. C. Evans, scenic artist of the theatre, who has been engaged on the scenery for some time past. Mr. Evans was up to his eyes in work when the reporter called upon him and was demonstrating that the scenery would. Be finished in the highest style of art, and in a manner which not only would reflect credit to him as an artist of the first rank, but resound to the honor of the city and the opera house. All of the scenes will be renewed, as well as the drop curtain. The auditorium is to be renovated throughout. All of the interior scenes are to be modern patterns and complete sets for such standard dramas as may be necessary to be presented, have been provided. All of the scenes will be complete in every particular, which has never before been attempted in this city. The number of new sets will number about twenty-eight. The parquette circle previously has contained three rows of chairs outside of the supporting posts of the auditorium. The intention now is to remove the circle about one-half the distance toward the stage and change the directions of the aisles in a manner that will not only improve the appearance of the interior, but greatly conducive to the comfort of the audience. The seats in the circle are also to be increased six inches in distance from each other, thus making the matter of ingress and egress much more convenient than formerly” (page 11).
On October 5, 1879, the “Galveston Daily News” reported:
“The Opera-House. During the past summer manager Evans has devoted not more attention to the securing of a list of first class attractions for the approaching theatrical season than to a renovation and remodeling of the interior of the opera-house. By liberal expenditure of money he has through the services of a competent artist and skilled workman carried out a comprehensive series of improvement. On Friday evening the whole was exhibited to the representatives of the press by gaslight for the purpose of informing the public of what has been done and of showing how everything worked. The performance passed off satisfactorily to the manager and was the subject of comments from others present. The stage has been supplied with a new stock of scenery out and out – new in in frame, canvas, gear, design and painting – and for the first time the opera-house was built a complete stock. The scenic artist Mr. J. C. Evans has been engaged several months in the work of painting the scenes. He has executed every design with care and skill, and has worthily illustrated his genius in several, the most significant of which is the drop curtain. In the center of this is a picture from which a copy of the picture by Barth furnished the design, representing the casket scene in the Merchant of Venice.
[This print by F. Barth, Casket Scene – Merchant of Venice” was published in “Harper’s Bazar in 1875. The article then includes a quote from the play, Act II, Scene iii].
“Bassanio stands before the open casket, in one of which is enclosed, ‘Fair Portia’s counterfeit.” More music plays, while the lover comments to himself on the caskets – which shall be three, the gold the silver or the lead;”
[The next quote in the article is from “Merchant of Venice”,]
Thou gaudy gold, Hard food for Midas, I will none of thee; Nor none of thee, thou pale and common drudge ‘Tween man and man: but thou, thou meagre lead, Which rather threatenest than dost promise aught, Thy paleness moves me more than eloquence; And here choose I; joy be the consequence!
“What find I here?Fair Portia’s counterfeit.“
“The picture is one that will hardly over tire the playgoer, especially if he has the critical faculty which always finds renewed pleasure in seeing a true work of art. The rest of the curtain is finished in hangings of crimson velvet and claret silk, profusely ornamented with gold drages and tassels. At the bottom of the richly carved framework surrounding the picture is a medallion portrait of Dante, supported on either side by figures holding cornucopias of flowers and fruits. The front of the stage has been lowered and the footlights sunk so that the floor is the stage may be seen from every seat. The auditorium is changed much for the better. The parquet circle has been enlarged to contain one hundred fifty to one hundred seventy-five more seats, reducing the parquet to one hundred fifty seats. The result is that there are over two hundred seats now facing the stage, the occupants which were heretofore under the necessity of twisting their bodied. In the large-parquet circle no two seats of adjacent rows are immediately in line with each other and the stage, so that hereafter nigh bonnets will be no obstruction to the view of a rear neighbor. The rows are six inches wider apart, giving room for the comfortable disposal of long limbs, they rise above each other at a rate of 5 ½ inches as you recede from the stage and the outer row is twenty inches above the old grade of the same. Much good sense has been brought to bear in the improvement of the auditorium. The credit is bestowed upon F. C, Yeager, the stage carpenter, for the manner in which he has performed his work; also upon Mr. Tom Boyle, the gas-fixture man, who has shown himself an artist in the graduations of lights and shades” (page 12).
The 1880 Galveston Directory and US Federal Census provides a snapshot into Evans’ last years in Galveston. Listed as a portrait painter, he is living with his wife, Julia E. Evans, and 16-yrs.-old son Charles Evans. His father is listed as being born in Spain and his mother being born in England.
In 1880 the Evans family were living at126 Avenue E or Postoffice Street; the same address listed for Evans in the Galveston City Directory. It is important to note that Evans was listed in Heller’s Galveston City Directory, 1880-81 containing the addresses of all white persons in and out of the city limits, with a classified Business Directory, Post Offices and Counties in this states, money-order offices, &c. Compiled and published by John H. Heller, 511 Broadway, bet. 15th & 15th. His listing notes that he was employed at the opera house, whereas his son was a clerk at a dry goods store, P. J. Willis & Bro., cotton factors and importers and dealers in groceries, dry goods, notions, dress good. Boots and shoes and hats. This was the last time that Evans was listed in the Galveston Directory, although his wife would remain in town for at least the next four years.
By the summer of 1880, Evans was traveling, working as a scenic artist. His first project was in Brenham, Texas, approximately 76 miles northwest of Houston. On June 17, 1880, “The Galveston Daily News” reported, “Contracts were closed to-day for the remodeling of the Brenham opera-house. Mr. G. A. Dickey, of Houston, is architect, and Mr. J. C. Evans, of Galveston, scenic artist” (page 1). On that same day, the “Brenham Weekly” reported:
“THE OPERA HOUSE –
Mr. J. W. Webb, contractor, will this morning begin the work of remodeling the interior of the opera house in accordance with the plans of Mr. Dickey. Mr. J. C. Evans will also begin work on the new scenery. When complete the interior of the house will be second to none in the state” (page 3).
On July 1, 1880, the “Brenham Weekly Banner” reported:
“THE DROP CURTAIN. Yesterday, through the politeness of Mr. J. C. Evans, the artist, a BANNER reporter had the pleasure of viewing the drop curtain, which has just been completed by him. It is a beautiful landscape representing Missisquoi, near Shelton Springs. The foreground is rocks and trees, then a beautiful river with valley and mountain sin the distance. The perspective and coloring are truly artistic, and the naturalness of the picture is apparent to the eye of anyone who admires the beauty of nature. At the top and on both sides of the picture are rich curtains, while at the bottom is some beautiful scroll work, in the center of which is a splendid likeness of Col. Sam Stone, the owner of the opera house In this piece of work, Mr. Evans shows himself to be artist, in the full sense of the word. The Brenham Opera House now has one of the most handsomest as well as the most artistically executed drop curtains in the state of Texas” (page 3).
In 1881, Evans was listed in the New Orleans City Directory as “J. Charles Evans.” He had partnered with fellow scenic artist and German immigrant, Harry Henry Dressel (1850-1905), to briefly form Dressel & Evans, scenic artists. Their firm was listed in the New Orleans Directory for 1881 and 1882.
Dressel was born in Hanover, moved to the United States with his family as a young boy, and became a scenic artist and decorator. His active years in New Orleans were approximately 1875 until his passing in 1905. Dressel is listed as an artist in a few publications, including “German Immigrant Artists in America” by Peter C. Merrill (1997).
H. H. Dressel’s grave in New Orleans.
Meanwhile his wife and son were still living in Galveston, listed in the 1882 City Directory, as “John C. Jr., clk Leon & H. Blum, home Mrs. Julia Evans” and “Julia Evans (Mrs. John C) r 210 22nd bet Ave E and F.” Her last listing at the address was in 1884: “Julia Evans (Mrs. John C.) r 160 E Winnie bt 21st, 22nd”. Evans occasionally returned to visit his family. On April 17, 1881, “The Galveston Daily News” reported, “Mr. J. C. Evans arrived from New Orleans yesterday on a visit to his wife and son, to stay during Spagerfest Week” (page 4).
Evans partnership with Dressel ended by 1883, with Dressel becoming the proprietor of Brown’s Hotel. Evans, however, continued to work as an artist in New Orleans, and was listed in the next three City directories. Although his address remained the same, his name shifted from Charles to John, and back again.
1883 listing: Charles Evans, painter, r. ne Palmyra, bet Delhonde and Broad
1884 listing: John Evans, painter, r. ne Palmyra, bet Delhonde and Broad
1885 listing: Charles F. Evans, painter, r. 196 Palmyra
Meanwhile, Julia continued to struggle in Galveston without her husband. The few mentions of Mrs. John C. Evans trace the collapse of her finances and living situation. On June 26, 1884, “The Galveston Daily News” published:
“For Rent – a furnished 2-room cottage, to gentlemen only. Possession given July 1. Next to Casino Hall. Mrs. J. C. Evans.”
By the fall, everything was being auctioned off at a public sale. On October 14, 1884, the “Galveston Daily News” announced:
“AUCTION NOTICE
We will sell on Wednesday October 15, commencing at 10 a.m. The residence of Mrs. J. C. Evans, Winnie Street…Bedroom suit, parlor, dining room, kitchen furniture, glassware, ornaments, shades, three singing canary bords and miscellaneous articles. Immediately thereafter we will sell at the cottage on Winnie Street…marble and walnut suit, kitchen, dining room and parlor furniture…”
On Dec. 31, 1884, she advertised in the Situation Wanted section of the “Galveston Dily News”: “WANTED – Position as saleslady, seamstress, housekeeper, or governess for small children in city or country. Mrs. J. C. Evans, Winnie & 21st (page 17).
In 1885, Evans relocated to Fort Worth. On Nov. 30, 1885, “The Galveston Daily News” reported, “Mr. J. C. Evans, an old resident of this city, left yesterday to accept a business position at Fort Worth” (page 4). It remains uncertain as to when Julia Evans left Galveston to rejoin her husband. The next time that I have them together in the same residence in 1900.
We do know that in 1885, J. C. Evans is listed as an employee at Sosman & Landis who contributed to the Grant Memorial Fund. It is possible that his work in Fort Worth was for a Sosman & Landis regional branch office.
His wife Julia remained Galveston for at least another two years, making the local news again in 1887. It is at this point that I discovered Julia was also an artist. It is quite convenient that her initials were the same as her husband’s Julia C. Evans. March 20, 1887, “The Galveston Daily News” reported, “Photo painting on glass taught for $3. Printed directions and complete outfit going 24 pictures sent to any address for $5. Groups of any size painted by Mrs. J. C. Evans, next to Casino Hall. Orders can be left at J. E. Mason’s, L. C. Levi’s and Rose & Schmedling’s Photograph Gallery”.
Tracking her husband proved to be much more problematic in the late 1880s. Both Charles Evans and John Evans periodically pop up in the Chicago City Directory, each listed as painters in 1889. Then they disappear until 1896. On March 19, 1896, “The Chicago Chronicle” announced, “John C. Evans of New Brunswick, N. J. is at the Auditorium” (page 6). If “Auditorium” were not in the announcement, I would be skeptical.
The 1900 US Federal Census confirms this address. John C. Evans is listed as a scenic artist in the Chicago Directory by 1898, living at 504 Van Buren Street, at this address for the next two years. In 1900, the US Federal Census confirms this address. His household includes his wife Julia and a servant named Alma Anderson. Information listed in this census is a little scrambled. In this public records. For example, Evans lists his birthplace as “at sea,” Jan. 1840. The birthplace of his parents has been swapped; now his mother is born in England and his father is born in Spain.
John C. Evans Jr. is also living at 504 Van Buren with his wife (Nellie), two children (Milton and Charlotte), and sister-in-law (Maggi). Evans Jr. lists his birthdate as Jan 1864, Texas. His wife Nellie was born in Wales, January 1877. Their two children, Milton L. (3) and Lottie (7 months) were both born in Illinois. Their household also included Maggi Thomas, Nellie’s 20-yrs.old sister. In 1910, Evans Jr. was working as a bookkeeper in an undisclosed industry. Evans Jr. had been living in Chicago for quite some time. In 1891, John C. Evans Jr. was listed in the Chicago directory as a clerk, working at 46, 5 Wabash Ave, and living at 61 Pearce. By the end of the 1890s, Evans Jr. was again living with his parents are 504 W. Van Buren, working as a bookkeeper. In 1901, Evans Jr. is living up the street at 516 W. Van Buren.
All the Evans were still in Chicago during the 1910 census report. Evans Sr.’ and Julia are now living at 503 Claremont Avenue, Evans is listed as a scenic artist. His birthplace is listed as “Spain” with the note “A Cit.” for “American Citizen.” The report lists that they have been married for 49 years, with Julia having given birth to only one child: one child still surviving. Evans Jr. and his family are living at 2712 Gladys St. IN Chicago.
Evans passed away on Feb. 23, 1915. I have yet to identify any obituary or article that mentions his death. As I mentioned at the beginning, there are two death records with conflicting information. Both list the name of the deceased as John Evans, each were born in 1841, and each died on Feb 23, 1915, in Cook County, Illinois. One states that the deceased’s occupation was “scene painter” and the other lists “house painter.” One lists birthplace as Italy and the other Cuba. Both records indicate that the bodies are buried in Forest Home Cemetery. It is possible that he was living two lives, but both of his wives would have been named Julia.
After her husband died, Julia lived with her son and his family; they were also living in Chicago at the time. They were still living together at the time of the 1920 US Federal Census. At the time, their household included John C. Evans Jr. (55), Nellie Evans (42), Milton Evans (22) and Charlotte Evans (20). Their household is located at 2720 Jackson Blvd. Grandson Milton Lewis Evans was working as a commercial artist.
Julia passed away on April 14, 1924. Her last residence was listed as 2720 Jackson, Blvd. She was buried on April 16, 1924, in Woodlawn Cemetery.
John C. Evans Jr. remains in Illinois, passing away on March 8, 1952. His obituary was published in the “Chicago Tribune” on March 10, 1952: “John C. Evans of 3305 Jackson Blvd, formerly of Clarendon Jills, Ill., beloved husband on the late Nellie Evans, father of Milton L. and Mrs. Charlotte La Nove, grandfather of six, great-grandfather of seven. Services Tuesday, 1:30 p.m. at chapel, 3159 Jackson boulevard, at Kedzie. Interment Woodlawn. Member of Blarney lodge, No. 271, AF&AM, and honorary member of Hinsdale lodge AF & AM Kedzie” (page 59).
George W. Dayton Jr. was the first-born child of scenic artist George Washington Dayton and Julia A. Sails born, born in 1862. He followed in his father’s footsteps; first, working as his father’s assistant and later as a full-fledged scenic artist. He was born and raised in New York. Watching first-hand as his father gained a local, regional and national reputation as a scenic artist. During his formative years in New York, Dayton Sr. worked at a variety of venues, including Grand Opera House. The 1870 US Federal Census listed the Dayton household as including George W. Dayton (35 years old, painter), Julia A. (31 yrs. old). George W. Jr. (8 yrs.) and Charles E. (4 months old, born in Feb.). Sadly, Charles passed away that same year; an event that must have been traumatic for his older brother. Another sibling would not be born for another four years. By the time his younger sister Florence arrived in 1874, George was already 12 yrs. old. By this age, many young boys entered apprenticeships. It would have been unusual for Dayton Jr. to not work as an assistant to his father at this point. Some of his early tasks would have been making glue, mixing colors, swiping down palettes, cleaning buckets, and sweeping up the paint area.
The Dayton family moved to California in 1876, and by 1878 Dayton Jr. was listed in the San Francisco Directory as a scenic artist at Baldwin’s Theatre. By this time, he was sixteen years old. His father’s scenic art works constantly made the news, praised in a variety of local papers. Whenever Dayton Jr. was mentioned in an article, he was still referred to as an “assistant”; a title that would remain constant for almost a decade. This was how the apprenticeship system worked. “Pot boys” eventually became scenic art assistants, before being given a palette of their own. Once they were allowed a palette, they became full-fledged scenic artists and were assigned their own assistant. It would have been unusual if Dayton Jr.’s training did not follow this pattern. If anything. Dayton Jr. may have remained his father’s assistant for longer than necessary, if he proved to be a good one. It may have been difficult to break away from his father and strike out on his own in the scenic art field.
Dayton Jr. was first listed as a scenic artist in the 1878 San Francisco Directory: “Dayton. Geo W. Jr., Scenic artist Baldwin’s Theater, r. 11 O’Farrell av.” At the time, he was living with his parents, with his father also listed as a scenic artist at Baldwin’s and also living on O’Farrel av.. He continued to be listed as a scenic artist in 1879 (Dayton, Geo W. Jr. scenic artist Baldwin Theater, r. Brooklyn Hotel) and 1880 (Dayton, Geo W. Jr. scenic artist Baldwin Theater, r. Brooklyn Hotel).
Between the summers of 1879 and 1880, the Dayton family relocated from California to Illinois, settling in Chicago. Dayton Sr. had secured employment at Hamlin’s Opera House.
On August 15, 1880, the “Chicago Tribune” mentioned both Daytons painting scenery for Hamlin’s Grand Opera House. The article announced, “Mr. George W. Dayton, the scenic artist at the new Grand Opera House (Hamlin’s), began his labors last Monday, being assisted by his son.” On September 5, 1880, the “Chicago Tribune” listed both father and son as part of the backstage staff: “George W. Dayton, scenic artist; George W. Dayton, Jr. assistant.” They were again mentioned in another “Chicago Daily Tribune” article on that same day (page 16). The article reported, “The principal officers of the house will be John A. Hamlin, Manager; William H. Davis, associate manager; George W. Dayton, scenic artist; George W. Dayton, Jr., assistant…”.
1880 US Federal Census listed George W. Dayton Jr. living with his parents and two younger siblings. Both he and his father were listed as artists. Despite working in Chicago, the Daytons maintained two homes: one in Chicago and one in Harmony, Maryland. In the census report, George W. Dayton Sr.’s occupation was listed as “Artist Oil,” with George W. Dayton Jr.’s occupation listed as “Artist App.”
By 1883, only one Dayton was listed in the New York City Directory, listed as an artist and living at 766 Ninth av. By 1884, father and son were accepting individual projects in the east. Each began going by George W. Dayton, often without the distinction of Jr. or Senior. Both were listed as painters in the Brooklyn Directory, living approximately six miles apart. Dayton Jr. was listed living at 28 Whipple; his father was at 133 22nd .
In 1885, work brought at least one George W. Dayton back to the main studio of Sosman & Landis in Chicago. Both were in Chicago that year, however, as each exhibited artworks at the 1885 Scenic Painter’s show. Both Dayton Sr. and Dayton Jr. were involved in the event, listed as part of the planning committee. On August 1, 1885, the “Inter Ocean” reported, “The scenic artists of this city held a meeting this week at Parker Galleries and determined to hold an exhibition and sale of works in distemper at those galleries early in September. Among the artists present were Ernest Albert, John Mezzovico, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. E. Bucky, Charles Ritter, and others” (page 4). Both Dayton’s were also mentioned in John Moran’s article about the event, published in “Art Union, a Monthly Magazine of Art” (Vol. 2, No. 4, 1885, p. 85). Moran wrote,” “Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr.” Dayton Jr. was mentioned again on Oct. 5, 1885 in the “Detroit Free Press” (page 5). He was listed as a contributor to the “first exhibition by the American Scenic Artists, now in progress at Chicago.” George Dayton Jr., “of Albany”, was listed alongside Matt Morgan, John Rettig, Thomas G. Moses, C. E. Petford, R. Merryfield, James Hamilton. Walter Burridge, Earnest Albert, John Howell Wilson, and L. Malmsha.
It was also in 1885 that Dayton’s mother, Julia, passed away. I have yet to locate her death certificate, so I am uncertain as to whether she passed in New York or Illinois. Dayton Sr. remarried; his second wife was Mary McCarty. Dayton Sr. and Mary went on to celebrate the birth of three children: Irvin W (July 1888), Eugene H. (July 1891), and Oscar V. (Sept. 1897).
During this time, both Dayton Sr. and Dayton Jr. are working as scenic artists in both Chicago and New York. They are each listed in the Brooklyn Directory for 1889; albeit at separate addresses. George Dayton Sr, was still at his 1884 address – 133 22nd . George Dayton, Jr., was living at 203 Varet St.; almost seven away from his father.
It must have been difficulty, sharing the same name and profession with a father who was extremely, well-known, well-respected, and well-liked. I have yet to come across and praise that was showered upon Dayton Jr. for his scenic art. I am not hinting that Dayton Jr. was lacking in any way, but he certainly transitioned from scenic artist assistant to scenic artist under his father’s shadow. I hope that his artworks also gained recognition over the years.
On Nov. 27, 1887, Dayton Jr. married Helena “Lena” Cohen in Manhattan, New York. This was likely the same year that his father also remarried Mary McCarty.
Marriage certificate for Geo. W. Dayton, Jr. and Helena “Lena” Cohen, 1887.
In 1887 Dayton Jr. was living at 141 Easy 17th Street, with his fiancée, Helena, living at 183 Ludlow. Born in Hamburg, Helena was the eldest daughter of Fanny and David Cohen. Her father was Dutch emigrant who worked as a tailor in Manhattan. George and Helena celebrated the birth of four children: George Washington Dayton (b. Dec. 25, 1888), Arthur Vaulkan Dayton (b. April 17, 1890), Julia Agnes Dayton (b. Nov. 3, 1892), and Jerome John Dayton (b. Feb 2, 1895).
By 1889, Dayton Jr. begins working for William F. Wise’s studio in Tyrone, Pennsylvania. By this time, Dayton Jr. was about 29 yrs. old. In 1889, George W. Dayton was listed as an artist in the New York City Directory, living at 3309 E 77th.
On September 17, 1889, the “Tyron Daily Herald” reported, “Two young men named Leon Moan and George Dayton, scenic artists who have been in the employ of W. F. Wise in Tyrone for nearly three months had their room in the building of Mr. Scullin, the tailor. About a month ago they broke a large French plate mirror in their room. They promised to pay for the damage done, but last night it was discovered that they were trying to sneak away on Philadelphia Express. Mr. Sculin did not care as far as the price of glass was concerned but he deemed it right to put a quietus on such a mean trick. Accordingly, he armed officer Snyder, with a warrant and together they went to the depot for the men. The fugitives were in hiding on the hill side of the railroad, and when the train arrived, they endeavored to board without being seen. Mr. Scullin and the officer made a dash for their men and secured Dayton, but Moan succeeded in eluding his pursuers. Dayton was taken before Esquire Taylor and settled the affair by paying the damage and costs” (page 2). Not to excuse any behavior, at the time, Dayton Jr. was supporting his wife and two infant children.
Both George W. Dayton Sr. and George W. Dayton Jr. were employed by William F. Wise at his studio in Tyrone, Pennsylvania.
Regarding their employer, Wise & Co., the firm advertised as architects and artists. Like Sosman & Landis, the not only operated a main studio, but sent some of their artistic staff on the road. William F. Wise began as a finisher, living in Brooklyn in 1873, and residing at 149 Navy. From approximately 1879-1882, he worked as a painter in Philadelphia. Although later business letterheads suggest that Wise & Co. was founded in 1876, that is likely when Wise transitioned from decorative painting to scenic art. In 1888, W. F. Wise and W.B. Stewart. purchased an old church, converting it into a scenic studio. By the next year, Dayton Jr. was working for Wise, traveling from one project to the next. It remains unclear as to whether both father and son were working for Wise at this time.
By 1893, Wise purchased land for a new building. On March 15, 1893, the “Tyrone Daily Herald” announced “New Scenic Studio to be built” (page 4). The article reported, “W. F. Wise this morning purchased of Harry Wands the lot. Of ground 75×170 feet, bounded by Muncy street, the Juniata river and Bald Eagle creek, upon this plot he will immediately begin the erection of a scenic studio which will be 55×130 feet in size. Mr,. Wise has secured an advantageous location for his new building, where it will be in full view of the railroad and other approaches to the town. The transfer was consummated through the active instrumentality of W. Fisk Conrad who in knowledge of real estate and its management is par excellence. The scenic painting business of W. F. Wise & Co. has long since outgrown their present studio at the corner of Washington Ave and Twelfth Street, and crowded with orders, they have from some time been looking for larger quarters. Many tempting offers from New York and elsewhere were made them to locate in other places, but our people will be gratified to note that the present transaction insures the permanency of their business in Tyrone. It is an industry which inures to the benefit of the town. The studio is the only establishment of the kind between Philadelphia and Pittsburgh and one of the very few extensive scenic studios in the United States, in reputation standing the peer of any. W. F. Wise & Co. are known the country over for their scenic and spectacular painting, and church hall, and theatre decorations” (page 4). In 1906, the company advertised that they had 30 years’ experience and were prepared to furnish drop curtains, scenery, decorations, models (to scale), architectural plans, carpentry work, stage traps, theatrical, hardware and lighting equipment and more.
By 1889, George W. Dayton is listed as an artist in the New York City Directory, living at 330 E 77th. By 1891, only George W. Dayton, Jr. was listed in the New York City Directory, living at 324 E 85th St. In 1892, he was living at E 117th St. #513 in Manhattan when his daughter Julia was born. In 1895, the Daytons were living at W. 118th St. in Brooklyn when Jerome was born that February. They remained at 264 W 118th until 1897 when Dayton Jr. passed away after battling tuberculosis for three months.
George W. Dayton’s New York Death Certificate form 1897.
Dayton Jr. died at the age of 34 on April 5, 1897. He had been sick for three months before his passing. On April 7 he was cremated and buried at Fresh Pond Crematory and Columbarium in Middle Village, Queens County, New York. He left wife and four children, between the ages of 2 and 8 yrs. old. Lena remained with her children in New York, listed in the1899 directory as “Lena, wid George, h. 2374, 2d av.” The 1900 US Federal census listed her occupation as a candy shop worker..
Her eldest son, George W. Dayton III, briefly followed in his father’s footsteps. The 1910 US Federal Census listed 21-yrs.-old George W. Dayton working as an artist for the newspaper industry in New York City. His address was listed as 21 110th St. W, Manhattan. George was still living with his mother and three younger siblings. His aunt, Emily E. Cohen and a boarder, Daniel Ahernas, were also listed as part of the household. George’s foray as an artist did not last, and by 1917 he listed his occupation as “auto mechanic” on his WWI draft registration card. A few months later, he was serving in the Supply Dept., of the Commissary Division, in the Panama Canal Zone. Both he and his younger brother Arthur worked Panama.
Arthur V. Dayton and his wife Adelina. Arthur was the son of George W. Dayton, Sr. Photograph posted to ancestry.com.
Arthur was the first to head south in the fall of 1909, working as a clerk for $100/month. That’s the equivalent of about $3200/month today. By 1930, Arthur worked as a dump inspector in the dredging division, passing away there six year later, on July 27, 1936; he is buried at Corozal, Distrio de Panamá. Both he and his wife died the same year, leaving two daughters, ages 18 and 14; Cecilia and Carmen both moved to Texas where they each married and celebrated long lives. Dayton Jr.’s youngest son, Jerome, remained in New York his entire life, where he primarily worked as a shoe salesman and cared for his mother.
Jerome Dayton, youngest son of George W. Dayton, Jr. and Helena Cohen Dayton. Photograph posted to ancestry.com.
Their mother outlived her father by 42 years.
On Sept, 2, 1939, her obituary was published in “The Miami News”-
“MRS. HELENA DAYTON. Mrs. Helena Dayton, 69, of 46 N. E. Fifth st., died yesterday at her home after a short illness. She came to Miami from New York eight years ago. She is survived by a daughter, Mrs. Julia Munch, Miami; two sons, George W. Dayton, Canal Zone, and Jerome J. Dayton of New York. Funeral services will be held in the Flagler funeral chapel at 5 p.m. today. The body will be cremated” (page 10).
Her eldest son, George W. Dayton III, remained in Panama until 1967. Nine months before his passing, he relocated to Daytona Beach, Florida. Dayton’s obituary reported, “Mr. George W. Dayton, 79, 2418 Tulane Ave., Daytona Beach died Tuesday. A native of New York City, he moved to Daytona Beach nine months ago from the Panama Canal Zone. He was a retired security officer and a member of the National Association of Retired Civil Employes. Survivors include widow Josephine Maria; son George K, daughter, Mrs. Elsie Trofashu; one grandchild, all of San Diego, Calif.” (page 10).
The Dayton’s only daughter, Julia Agnes, married Joseph H. Munsch in New York. She was Munsch’s second wife. They moved to Miami, where Julia cared for her mother during the 1930s. Aftre her mother’s passing, the Munschs relocated to National City, California. Although I have yet to locate an exact date, Musch’s WWII draft card lists National City as his residence in 1942. Julia remained in California for the remainder of her life, passing away on July 23, 1971. She is buried next to her husband at Fort Rosencrans National Cemetery in San Diego; Joseph Munsch served as a Private in the US Army during WWI.
Julia and her mother. Photograph posted at ancestry.com
Fortunately, I am in contact with some of the George W. Dayton’s descendants, but they have yet to locate a photograph of either father or son. I have not uncovered an extant artworks by either Dayton Sr. or Jr.
While researching the life and career of Joseph C. Blaine, I stumbled across an 1885 newspaper article in the “Chicago Tribune.” The article made me both celebrate and curse. On Aug 2, 1885, the “Chicago Tribune” published a list of Sosman & Landis employees who contributed to the Grant Memorial Fund. This meant that I had to track down at least thirteen more individuals to include in the Sosman & Landis staff. That number immediately increased to fourteen, as George W. Dayton, could have been either the father or son; both were journeyman scenic artists, working in Chicago at the same time.
In 1885, George W. Dayton donated $1, the same amount as all of the other journeymen artists, with exception of Thomas Moses ($2) and Henry J. Buhler ($2). Dayton donated the same amount as fellow journeyman and one-time New York scenic artist, David A. Strong. Both Strong and Dayton were around the same age, and extremely well-respected by the theatre community, each well-versed in painted illusion and stage machinery for stage spectacles.
I am starting with George W. Dayton Sr., as he came first, and we share the same birthday.
George Washington Dayton, Sr. was born on June 19, 1839, in New York. The actual location of his birth varies, with some records suggesting Greene County and others New York City. Regardless of his birth location, his mother’s family (the Tompkins) was from Greene County. She was born, raised and married in Greene County, New York. For geographical context, Greene County is approximately 54 miles southwest of Albany, New York.
George was the youngest son of John Harvey Dayton (1797-1849) and Charlotte E. Tompkins (1794-1868). At the time of his birth, his parent’s had been married for over two decades and already celebrated the birth of eight children: James Harvey (1819-1820), Daniel (1821-1823), James Lewis (1824-1891), Mary Elizabeth (1825-1826), Oscar Veniah (1827-1898), George Washington (1829-1829), John Harvey Dayton (1830-), and Julie Ann “Emma” Dayton (182-1835). In examining both birth and death dates, many of the Dayton children did not survive infancy or early childhood. Little is known of Dayton’s youth, or any moment that prompted him to seek a career in scenic art. His father passed away in 1849, when Dayton was only ten years old. Five years later, Dayton was working at the Bowery Theatre in New York City; a 15-yrs.-old scenic art apprentice. For theatrical context, this is the second Bowery Theatre; the one designed by architect John Trimble that opened on August 4, 1845. The structure lasts until 1929. For geographical context, the Bowery Theatre was located on the Lower East Side of Manhattan.
I have yet to track down any early connections between the Dayton family and the Bowery theater, any tie to the theatre that may have prompted the selection of this occupation. However, the Bowery Theatre repeatedly placed want ads for scenic artists. April 9, 1856, “The New York Daily Herald” advertised:
“SPECIAL NOTICE – WANTED AT THE BOWERY theatre, a first-rate scenic artist; also a good property man. Apply, personally or by letter, prepaid, to Geo. H. Griffith, Acting Manager, Bowery Theatre, New York” (page 7). In 1856, the interior of the Bowery Theatre was featured in the Sept. 13 issue of “Frank Leslie’s Illustrated Newspaper.”
The Bowery Theatre Stage in 1856
Dayton was likely still living at home when he worked at the Bowery Theatre in 1857. His mother was listed in the New York City Directory: “Dayton, Charlotte, widow, h. 168 W. 37th.”
The Bowery lost a scenic artist the year before Dayton began there. On March 11, 1854, “New York Daily” announced that Bowery Theatre, Hamilton, scenic artist left for Australia (page 2). J. Thorne also worked at the Bowery in 1854. John Thorne was credited with painting scenery for the “Seven Temptations” at the Bowery Theatre as part of a “Grand Scenic Spectacle” of June 1855. This means that Dayton most likely assisted Thorne when he first started at the Bowery Theatre that year. In 1855, Thorne and Samuel Culbert were credited with new scenery for “A Grand Military Spectacle” (“New York Herald” 16 Aug. 1855, page 3). Thorne & Culbert had also painted scenery for the pantomime “The Enchanted Temple,” performed at the Bowery Theatre in 1854. In 1859, John Thorne was one of only two scenic and panoramic artists listed in the New York City Business Directory; the other was Oscar F. Almy.
As Dayton gained experience, he began securing employment elsewhere, working for George Christy at Dayton at Niblo’s Garden by 1857. About this same time, David A. Strong also worked at Niblo’s. By 1858, Dayton relocated to Boston where he briefly worked at the Howard Anthenaeum. In1860, he was again actively engaged at Wallack’s Theatre in New York, then American Theatre in Philadelphia.
It was during this time when Dayton married his first wife, Julia A. Sails. The couple soon celebrated the birth of their first child, George W. Dayton, Jr., in 1862. Dayton Jr. would continue in his father’s line, working as a scenic artist.
Between 1862 and 1867, Dayton worked as a scenic artist at the Grand Opera House in New York. In 1867, Dayton became associated with New York’s Broadway Theatre, credited with painting scenery for Tom Robertson’s “Caste.” Dayton continued to paint at a variety of venues throughout the region.
In 1871 Dayton returned to the Grand Opera House, painting scenery for several Augustin Daly productions. Dayton and Louis Duflocq assisted Richard Marston on several productions, continuing to work with Heister until the mid-1870s. They painted scenery at various venues throughout the region, including a production of “Macbeth” at Boston’s Globe Theatre.
However, On June 9, 1871, Dayton’s work at Pike’s Opera-House was mentioned in “The American Israelite” (page 10). The article reported, “For the past few months, it is well known to our citizens that the enterprising Mr. S. N. Pike has been remodeling his concert hall with a view to its conversion into an opera-house that might equal, if not eclipse, in beauty and elegance of finish the former structure…The scenic artist is Mr. Joseph Pigott, and Mr. George Dayton, of the Grand Opera of New York, has been engaged to paint several scenes with special reference to the opening night.” Purportedly, it was James Fisk (managed of the Grand Opera House) who sent Dayton to the newly-constructed Pike’s Opera House in Cincinnati. Years later, Dayton recalled that when he arrived at Pike’s, “there was nothing but the bare wall.” Over the course of six weeks, he painted enough scenery to stage five operas. Interestingly, articles from the time note that the set pieces and wings were constructed of sheet iron.
In 1868, Dayton’s mother passed away in New York. At the time, Dayton was 29 years old; his career was taking off and he was making quite a name for himself. Her obituary simply announced: “DAYTON. – On Tuesday, March 10, Charlotte Dayton, aged 73 years, relict of John H. Dayton and daughter of Hon. Nehemiah Tompkins, of Greene County, N. Y. Funeral on Thursday morning at eleven o’clock from the residence of her son, 128th street and Seventh avenue.”
In 1869 the couple celebrated the birth of their second son, Charles E. Dayton. By 1870 Census Dayton household as including George W. (35 years old, painter), Julia A. (31 yrs. old). George W. Jr. (8 yrs.) and Charles E. (4 months old, born in Feb.). Sadly, Charles passed away the same year.
In 1872, Dayton was listed as an artist in the New York City Directory, living at 274 W 19th.
In New York, Dayton was also associated with Niblo’s Garden Theatre. This association was mentioned after a riding accident made the newspapers. On Aug. 24, 1874, “The Brooklyn Union” reported, “Mr. George W. Dayton, scenic artist of Niblo’s Theatre, Miss Margaret Clinton, and actress, Dr. Spier, and his wife of New York, visited Cypress Hills yesterday. While the carriage in which they were riding was descending one of the steep paths in the cemetery, a portion of the harness broke and the horses became frightened and ran away. The carriage was upset near the entrance and the driver and all the occupants were thrown out and sustained more or less serious injuries.”
This same year the couple celebrated the birth of another child, Florence Estelle Dayton (1874-1955). Florence was born in Flatbush, Long Island, New York. A section of her obituary notes her lineage: “Florence E. Dayton, born September 19, 1874, at Flatbush, Long Island, was descended from an old family who first settled in this country in 1629. Her grandfather, Jonathan Dayton, was the youngest signer of the Constitution of the United States, and her great uncle, Daniel Tompkins, was twice Governor of New York State and Vice-President under President Monroe.” This is not accurate, as her grandfather was born in 1797. I have yet to verify any connection to Johnathan Dayton (1760-1824), the 26-yrs.-old signer of the Constitution from New Jersey.
In 1875, Dayton was credited as one of the scenic artists credited with painting scenery for Charlotte Cushman. Her farewell performance at the Globe Theatre on May 15, 1875, listed George Heister, George W. Dayton and Joseph Schnell as scenic artists, as part of the executive staff.
As with many scenic art families, the birth of each Dayton child helps track the family’s travels. Sometime between the birth of Florence and the birth of Arthur, the Daytons moved from New York to California. By 1876, the Daytons relocated to California. Arthur B. Dayton was born in San Francisco that year. At the time, Dayton Sr. was listed as the scenic artist for Baldwin’s Academy of Music (also known as Baldwin’s Theatre). The remained in the area for three years. During this time, Dayton Jr. began assisting his father. In 1878, George W. Dayton, Jr., was also listed as a scenic artist at Baldwin’s Theatre, working as an assistant to his well-known father.
Geo. W. Dayton worked as a scenic artist at the Baldwin Theatre in San Francisco.
Dayton Sr. was making headlines in 1878 and was featured in “The Footlight,” a San Francisco Journal. The article about Dayton Sr. provides an abundance of details about his career up until this point. His portrait was included with the article and remains the only known image of the artist.
“The subject of our illustration, Mr. George Washington Dayton, whose scenery of Joaquin Miller’s California Drama, “The Danites,” lately produced and now being performed at Baldwin’s Theatre, has brought him prominently before the San Francisco public, belongs to a family of artists. His brother, Oscar V. Dayton, was scene painter for Maguire in 1849 and ’50, and may be said to have been a pioneer scenic artist in California. Old ‘49ers can remember with what pleasure the stage pictures, made to illustrate the plays, produced at the Jenny Lind Theater were viewed.
One of the most celebrated American scenic artists, Minard Lewis belongs to a branch of the Dayton family, being to George W., whose style closely resembles that of Lewis.
Possess of inherent and natural abilities to become eminent in his profession, Dayton has been quite fortunate in the school wherein he has gained knowledge and experience. At the age of 15, in 1855, he was employed at the Bowery Theatre, New York, then under the management of Messrs. Eddy and Johnson. In 1856 and ’57 under the direction of Mr. Lehman, he assisted in the production of the ‘Red Gnome’ and ‘Green Monster’ series of pantomimes by the Ravels, probably the most gorgeous spectacle of the kind ever brought out in the United States. In the same year, Dayton painted scenery for George Christy, next or to Niblo’s, and in the following year, 1858, we find him at the Howard, Boston, for a short session of six months, under engagements to J. M. Nixon. Returning, however, to New York, he was engaged in1860 at the Broadway Theater (then named the Wallacks) thence for a short season to Philadelphia at the American Theater, and back again to the Broadway Theater, New York under manager Wood and Barney Williams; from there to the Grand Opera House, managed by James Fisk, where he remained five years, and was sent by him in 1867 to Pike’s Opera House, Cincinnati. When Dayton commenced work at Pike’s Opera House, there was nothing but the bare walls and in six weeks he had scenery sufficient for the production of five operas, the set pieces and wing boards being painted on sheet iron. The Fisk engagement was followed by one of one year under Augustin Daly, as the Globe Theater, Boston, which brings his dates to 1875. From there he went for short season to Concord, N. H., where Tom Maguire the shrewd manager of Baldwin’s, who always keeps track of all kinds of first-class talent, until a favorable opportunity of securing it occurs, found and imported him expressly for Baldwins theater. The result has fully justified Maguire’s good judgement. Theater goers are familiar with the work Dayton has placed on view since his advent at Baldwin Theater and those possessed of aesthetic taste readily recognized the hand of a master craftsman. The modesty of the artist prevents his asserting his just claim to recognize.”
Th article is a remarkable compilation of events, constructing Dayton’s scenic art career from 1856-1878. This, combined with other historical records, give a detailed account of Dayton’s travels.
The Dayton’s were still living in San Francisco the following year. Dayton was still associated with the Baldwin Theater, but was also painting for the Grand Opera House. On April 9, 1879, “The San Francisco Examiner” announced, “Baldwin’s Theatre. – Another crowded house witnessed A Scrap of Paper at this place last evening. The play was admirably produced and the actors, with one or two exceptions, filled their roles to the entire satisfaction of all present. Mr. Dayton, the scenic artist, has surpassed all his previous efforts by the second and third scenes of the play. The formerly is arranged, and we understand that the articles on the stage used in the ornamentation are valued about $6,000” (page 3). On May 5, 1879, “The San Francisco Examiner” listed George W. Dayton as the scenic artist for ‘Aida’ at the Grand Opera House (page 2).
On August 16, 1879, “The Pacific Bee” mentioned Dayton in an article entitled “Stock Speculations” (page 2). The article announced, “He is interested in the actors’ mine known as Uncle Same, at Bodie, and has also bought a large farm in Maryland, where there will be quite a theatrical colony, since Lewis Morrison, Dayton (scenic artist) and many others have purchased land in the same district” (page 2). They kept a home in Harmony, Caroline County, Maryland in 1880, the US Federal Census listed the Dayton family in Harmony. The census was taken on June 3, 1880. George W. Dayton Sr. and Jr. were both listed as artists. Other members of the Dayton household included: his wife, Julia Dayton; and his younger children Florence (6 yrs.) and Arthur B. Dayton (3 yrs.). The 1880 US Federal Census listed the Dayton Household in Chicago too, and including: head of household, George W. Dayton, Sr.; his wife, Julia Dayton; his eldest son, George W. Dayton, Jr.; and his younger children Florence (6 yrs.) and Arthur B. Dayton (3 yrs.). Both Sr. and Jr. George W. Dayton worked as artists. The census listed both George W. Dayton Sr George W. Dayton Jr. as artists.In both census reports, Dayton Sr. was listed as 35 years old, and Dayton Jr. was listed as 19 yrs. old. In fact, Dayton Sr. was 41 years old. Daytons work in Chicago makes sense. This is the same time that Sosman & Landis began to expand their scenic art staff. Sometime between 1878 and 1880, Dayton relocated his family east, both he and his son continue to work as scenic artists.
Between the summer of 1879 and the summer of 1880, the Dayton family relocated with Chicago. Dayton Sr. was soon featured in the Chicago Tribune.
On August 15, 1880, the “Chicago Tribune” reported:
“Hamlin’s Scenic Artist.
Mr. George W. Dayton, the scenic artist at the new Grand Opera House (Hamlin’s), began his labors last Monday, being assisted by his son. As very much of the success of the new theatre will depend upon the efforts of Mr. Dayton, a short sketch of his career as an artist is appended. Mr. Dayton comes from a family of artists, his brother, Mr. Oscar V. Dayton, having been the first artist in Maguire’s ‘Jenny Lind.’ Theater in San Francisco in 1849. Minard Lewis, recently deceased, was his cousin. Possessed of inherent abilities for his profession, Mr. Dayton has gained great knowledge and proficiency. At the age of 15 he was first employed at the Old Bowery Theatre, New York, then managed by Eddy and Johnson. In 1856 and 1857 he assisted in the production of the “Red Gnome” and the “Green Monster,” under the direction of Mr. Lehman. These painted pantomimic spectacles, which introduced the celebrated Ravel family, were at that time considered the most gorgeous ever produced in America. In 1857 he also painted the scenery for George Christy’s Minstrel Hall, next door to Niblo’s. In 1858 he went to the Howard, Boston, then under the management of James M. Nixon. In 1860 he returned to New York, engaging at the Broadway Theatre (then named Wallack’s). Thence he went to the American, Philadelphia, but returned to the Broadway when Wood and Barney Williams assumed its control. From Broadway he went to the Grand Opera-House with James Fisk, where he remained five years. Going to Cincinnati during that time to fit Pike’s Opera House with a stock of scenery. After the Fisk engagement he went to Boston with Augustin Daly as artist for the Globe Theatre. Mr. Dayton was then sought by manager Tom Maguire for Baldwin’s magnificent Academy of Music, San Francisco. Mr. Hamlin secures him direct from the last-named house.
Mr. Dayton is unknown to Chicago, but when it is understood that the scene for McKee Rankin’s “Danites,” which have so often received praise here, were originally designed by Mr. Dayton, there will be a favorable opinion of his merits as an artist. He was complimented with a call for each scene when they were first disclosed at Baldwin’s Theatre. There is no mean praise, coming as it did from the forty-niners themselves.
Mr. Dayton will have a new drop-curtain ready for the approaching opening of the new house.”
Both Hamlin and is son were also working as scenic artists at the new Grand Opera House. On September 5, 1880, the “Chicago Tribune” reported that “the entr’acte curtain has been painted by Mr. Dayton” (page 11). Later in the article, Dayton was again listed as part of the backstage staff: “George W. Dayton, scenic artist; George W. Dayton, Jr. assistant; John Foust, machinist; John Dolan, master of properties.” Dayton was mentioned in another Chicago Daily Tribune” article on that same day (page 16). The article reports, “In the way of a drop curtain a new departure has been made, one of a dark crimson cloth, with deep Roman fringe, having been chosen, while an entr’acte curtain has been painted by Mr. Dayton…The principal officers of the house will be John A. Hamlin, Manager; William H. Davis, associate manager; George W. Dayton, scenic artist; George W. Dayton, Jr., assistant…”.
However, George W Dayton Sr. and Jr. are counted in the 1880 census twice. The same happened in 1900.
On Oct. 2, 1880, the “Chicago Daily Telegraph credited George W. Dayton as painting scenery for T. W. Keene (p. 4). The article reported, “The plays in Which Mr. Keen has the honor to make his stellar debut in Chicago will be produced under the immediate supervision of the veteran Charles Webb, of Drury Lane Theatre, London. New and brilliant scenery by George W. Dayton.” I am relatively certain that the article is referring to Dayton Sr., despite the fact that he was continuously assisted by his son. In 1880, Dayton Sr. is 41 yrs. old, and Dayton Jr. is 18 yrs. old. Five years later, it was a different story. Age and experience in Dayton Jr.’s part brings his name into play.
Both Dayton and his son continue to paint scenery in both Chicago and New York. By 1882, Dayton Sr. is associated with New York’s Standard Theatre, where he worked alongside Phillip Goatcher, G. Heineman, John Mazzanovich and J. W. Rough. In 1883, Dayton paints scenery for “Michaëla,” with his son listed as an assistant. Other New York shows include painting with Mazzanovich to deliver scenery for “The Rajah” at Madison Square Theatre in 1883. The following year Dayton painted scenery for “Sea of Ice” with William Voegtlin and his son at the Buffalo Academy of Music. On September 9, 1883, “The Philadelphia Times” announced, “The scene in the Polar regions, which has been painted by George Dayton, the scenic artist at the Union Square Theater, for “The Sea of Ice,” to be presented at the Walnut, has been made from drawings furnished by an old arctic explorer. It is described as very novel and effective” (page 3).
In 1884, both Dayton Sr. and Jr. were listed in the Brooklyn City Directory:
George Dayton, painter, h. 28 Whipple
George Dayton, painter, 133 22nd.
The George Dayton at 133 22nd would retain this address until 1898, suggesting that this was the address of Dayton Sr; Dayton Jr. passed away in 1897.
In 1884, Dayton is working in Hartford, Conn. At the Opera House. On July 30, 1884, the “Hartford Courant” reported:
“WELCOME IMPROVEMENTS.
When the entertainment season at the opera house reopens, a few weeks hence, the patrons of this place of amusement will observe and appreciate many improvements. Just now the stage is piled up with work benches and the paraphernalia used by scenic artists and stage carpenters, and on every hand sections of scenery are stacked in confusing order. High upon the wall back of the stage, on an improved platform, scene painters are working on the new drop curtain for the proscenium arch, which is to take the place of the green cloth curtain that had done service since the opera house was opened. The subject for the new curtain is the popular picture by Carl Becker of ‘Othello’s Story.’ The Moor leans against the railing of the Venetian balcony recounting his exploits to Brabanco, and Desdemona sits at her father’s feet a charmed listener, while in the distance, across the grand canal, loom up the Campanile tower and the church domes, just as they now do in sleepy old Venice, and as Becker believed they did when Othello was moving the susceptible heart of Desdemona. The curtain will be 45 by 39 feet square. It is being painted by Mr. George W. Dayton of the Star theater, New York, a scenic artist of considerable reputation, and whose work is known to Hartford’s theater-goers by the few sets of new scenery introduced at the opera house last season and the year before. Mr. Dayton has been at work at the opera house for the past six weeks, and among the new scenes that he has painted are a mediæval castle gateway, hemmed in with battlement walls; an interior prison scene – very effective in drawing and perspective; a street scene specially adapted for pantomime tricks; a baronial chamber of the Norman period; with its stone walls and tapestries; and attic scene, and others of minor nature. All these scenes have the necessary border drops and wings. The auditorium of the theater has been renovated and freshly painted and the entrance from Main street is made more inviting by a fresh coat of paint. Mr. Roberts is to be commended for giving his opera house these new touches, and he will no doubt reap a compensating patronage from them” (page 2).
In 1885, Dayton and his son primarily work and exhibit their fine art in Chicago. This is what makes the 1885 Sosman & Landis staff list difficult to interpret. In 1885, Dayton Sr. had been working as a scenic artist since 1856. His son had been listed as a scenic artist since 1878. Although Dayton Sr. Had much more experience, 29-yrs.-old Dayton Jr. was also a journeyman artist. Both were listed in the Scene Painter’s show of 1885. Dayton Sr. and Dayton Jr. were even part of the planning committee. On August 1, 1885, the “Inter Ocean” reported, “The scenic artists of this city held a meeting this week at Parker Galleries and determined to hold an exhibition and sale of works in distemper at those galleries early in September. Among the artists present were Ernest Albert, John Mezzovico, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. E. Bucky, Charles Ritter, and others” (page 4). Both Dayton’s were also mentioned in John Moran’s article about the event, published in “Art Union, a Monthly Magazine of Art” (Vol. 2, No. 4, 1885, p. 85). Moran wrote,” “Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr.” I would suspect that BOTH George Dayton Sr. and George Dayton Jr. were part-time employees at Sosman & Landis in the mid-1880s. During this time, Sosman & Landis also ran a branch office in New York. Many of their employees shifted between the two regions; heading wherever their skills were needed. Such was the case with Dayton Sr. and Dayton Jr. By 1885, they had consistently worked together since 1878. It seems unlikely that only father or son would work at Sosman & Landis, as they worked as a pair.
On April 15, 1885, the “Buffalo Morning Express” mentioned Dayton’s continued scenic art work in New York (page. 5): “Mr. J. C. Rother, who ranks among the foremost portrait artists of Buffalo, had not yet moved to New York, as has been stated. On his recent visit to New York, he made arrangements with Mr. George Dayton, the celebrated scenic artist, formerly of the Standard and Star Theatres, New York, whereby he is enabled to furnish scenery for theatres and halls from the cheapest to the most elaborate and artistic. Mr. Rother has moved his studio from the Austin building to his old stand, No. 366 Main Street, so that he can personally supervise his sign and decorative establishment, and will also continue his portrait painting, Mr. Rother’s abilities as an artist are too well known to need further comment. If he goes to New York to live it will not be until autumn, and in the meantime, he will receive orders for portraits as heretofore.”
It was in 1885 that his first wife passed away. He remarried two years later. His second wife was Mary McCarty (1866-1931). The couple celebrated the birth of three of whom survived infancy. Their children were Irvin W (July 1888), Eugene H. (July 1891), and Oscar V. (Sept. 1897).
In 1887, Dayton was again working in New York with Voegtlin and delivering scenery for “Peg Woffington” at the New York Lyceum. He was also working with George Hineman. On May 26, 1887, “The Morning Journal-Courier” announced their work at the New Haven Opera House: “Two scenic artists of acknowledged ability, George W. Dayton and George Hineman, have already arrived and begun the work of adding important improvements in the scenic department, under Manager Wall’s direction” (page 2).
In 1889, Dayton Sr. and Dayton Jr. were again living out east, each listed as a painter in the Brooklyn City Directory, with George Dayton Sr, residing at 133 22nd and
George Dayton, Jr. at 203 Varet St.; their residences located quite far apart. Dayton and his father soon began representing the William F. Wise studio in Tyrone, Pennsylvania.
On September 17, 1889, the “Tyron Daily Herald” reported, “Two young men named Leon Moan and George Dayton [Jr.], scenic artists who have been in the employ of W. F. Wise in Tyrone for nearly three months had their room in the building of Mr. Scullin, the tailor. About a month ago they broke a large French plate mirror in their room. They promised to pay for the damage done, but last night it was discovered that they were trying to sneak away on Philadelphia Express. Mr. Sculin did not care as far as the price of glass was concerned but he deemed it right to put a quietus on such a mean trick. Accordingly, he armed officer Snyder, with a warrant and together they went to the depot for the men. The fugitives were in hiding on the hill side of the railroad, and when the train arrived, they endeavored to board without being seen. Mr. Scullin and the officer made a dash for their men and secured Dayton, but Moan succeeded in eluding his pursuers. Dayton was taken before Esquire Taylor and settled the affair by paying the damage and costs” (page 2).
By 1889, George W. Dayton is listed as an artist in the New York City Directory, living at 330 E 77th. By 1891, only George W. Dayton, Jr. was listed in the New York City Directory, living at 324 E 85th St.
In 1891, the Dayton family lived in Pennsylvania, as a son, Eugene was born in Philadelphia that July.
From 1892 to 1894, the Daytons lived in New York, as “George Dayton, artist,” was listed in the directory, living at 513 E 117th St.
In 1894, Dayton’s past affiliation with Wallack’s Theatre in New York was mentioned in various newspaper articles about Henry Arthur Jones’ touring production of “The Silver King.” On Dec. 7, 1894, “The Clinton Register” reported that “All of the beautiful scenery for which the ‘Silver King’ is famous, is carried completed and was painted by George Dayton, former scenic artist of Wallack’s theater in New York” (page 2). On Oct. 16, 1895, the “Argus and Patriot” advertised the show at the Blanchard Opera House in Montpelier, Vermont. It noted, “All of the beautiful scenery for which ‘The Silver King’ is famous is carried complete, and was painted by George Dayton, former scenic artist at Wallack’s Theatre, New York” (page 3).
Interestingly, in 1896, the former residence of George W. Dayton was mentioned in the “Brooklyn Citizen” (2 Aug. 1896, page 23). The home and grounds were described in great detail. The article reported, “Patrick Ford lives on the Coleman place, now called ‘Dayton’s’ because it was once owned by George W. Dayton, the scenic artist, who during his occupancy of the place entertained some of the stage celebrities of the times.”
In 1897, however, both Dayton’s were listed in the NYC Directory:
Dayton Geo W artist h 1088 Park av
Dayton Geo W artist h 264 W 118th
That year, Dayton Jr. died of tuberculosis laryngitis at 34 yrs. old on April 5, 1897. He had been sick for three months before he passed. Dayton Jr. was buried in Middle Village, Queens, New York, he left a 2 yrs. old son (Jerome J. Dayton) and five-yrs. old daughter (Julia Agnes Dayton) daughter. Dayton Sr. had only a little time to grieve the passing of loved one. Three weeks later, he was bas at work. On April 28, 1897, the “Tyrone Daily Herald” of Tyrone, Pennsylvania, reported, “George W, Dayton, the veteran scenic artist, with a. corps of assistants, has begun work upon the extensive scenery to be used by the Harry M. Dry Pyrotechnic company in their new spectacular production ‘The Bombardment of Fort Sumter or the Siege of Charleston,’ which will be ready for presentation on the road in a few weeks. Altoona is anxious to be the first city to witness this gorgeous pyrotechnic festival, and it may be that the season will be opened there” (page 4).
Dayton Sr. had relocated to Tyrone. This move was recalled by his son, Oscar Dayton, years later. On Dec. 22, 1976, the “Tyrone Daily” published an article about the loss of the Wilson Theatre, entitled “The Curtain Comes Down” (page 6). Much of the artist focused on George W. Dayton, Sr.:
“Oscar Dayton’s father was a member of the Wise Studio, and a superb painter. Originally from New York City, the elder Dayton was employed by a very industrious organization of that city as a scenic painter and artist. When the Wise Studio came into being during the 1880s, George W. Dayton was contacted by Wise to come to Tyrone and further his professional technique by joining Wise’s staff in his studio on 12th street. The offer was accepted, and the Dayton family moved to Tyrone, where living conditions were less expensive than the larger, metropolitan areas, and, yet, the wages were most attractive. George W. Dayton continued his profession until his death in 1908. The Wise studio was a very busy establishment, painting scenery for theatres over a vast area. In fact, orders were well ahead of the work and became so prominent. That Wise drew in professional painters from many large cities.”
Oscar Dayton reminisced, “Ten professional painters worked from dawn to dark. It was a tremendous business, since scenery was an exclusive part of stage settings, and was in constant demand.”
George Dayton Sr. and the Wise Studio made headlines again in 1993. On July 24, 1993, the “Tyrone Daily Herald” published an article on the renovation of the oldest building in Tyrone (pages 1-2). On the second page of the article, the history of the building was examined: “The Woodshop building, which looks similar to a big old red barn, has a long history in the community, being the oldest building now standing in the borough. Built in 1855 it was first used as a church by the former United Brethren Congregation (now First United Methodist Church), and later became a Civil War hospital. The next occupancy of the building came in the form of scenic artists and a theatrical studio for W. F. Wise Co. and for George Dayton. Eventually Miller Brothers (Hardware) used it for storage for about sixty years, selling it to Lee Wertz, who also used it for storage. Mr. Anderson purchased the property in 1992 with a goal of restoring the building and using the second floor for his custom woodwork shop. Among his talents, Mr. Anderson makes moldings for other people restoring buildings.” The building stands at the corner of 12th Street and Washington Avenue. It was the theatrical posters uncovered during Anderson’s restoration that brought this building into the public eye again. On Feb. 27, 1993, the “Tyrone Daily Herald” reported, “Some pulley fixtures used for lifting scenery were found on the second floor. They were unique because of the four cut-out heart designs on each side of the pulleys. Samples of wall covering in which old wall paper was used as the canvas have been given to the historical society” (page 1). Here is a link to a photo gallery for Tyrone’s Oldest Building: https://tyronesoldestbuilding.com/gallery/
Additional research revealed that in 1888 the church building was sold to W.F. Wise and W.B. Stewart. The building was again sold in 1895 to A.A. Stevens and it would never again be in a position of importance to the community until it became the oldest building in Tyrone. After the purchase of the building by A.A. Stevens in 1895, it changed hands 11 more times.
On Feb. 24, 1898, the “Tyrone Daily Herald” included two articles about Dayton. The first was a letter written by Dayton entitled “A Strong Team” (page 4). It reported, “After frequent solicitations of a number of my friends who wished me to teach the art of drawing and painting in their several branches, I write this to all those who wish to take lessons, that I have associated myself with the Penn Art Co. school as one of their instructors and will faithfully do my part to educate all pupils who study with me, and if they will prove as studious and apply themselves on their part, they will have no cause to complain; attentive pupils will certainly attain such progression that they will be more than pleases with their venture. – Geo. W. Dayton.”
The second article reported, “The fine suite of rooms comprising the second floor of the First National Bank building is now occupied by the Penn Art company, of which M. D. McOmber is manager. The four rooms have been newly papered and renovated, presenting an attractive appearance. The front rooms will be occupied as the main office and clerical department, and the rooms facing Tenth street will be devoted to the teaching departments in charge of George W. Dayton and William H. Kellogg. The Penn Art company have for a long time been negotiating with some of the well-known artists of the country and have finally secured the services of these two experienced artists, who are known throughout the United States, and their paintings have been recognized and acknowledged by the artists of the world as masterpieces. As experienced teachers they probably have no superiors” (page 4).
Dayton Sr. continued to be listed in the newspaper. He was mentioned in a multi-page article entitled “How a Play is Staged.” On Aug 21, 1898 the “New York Times” reported, “Scenic artists have for years used the device of model scenes – that is, they have roughly constructed a small model as guides to the carpenters in making the larger scenery’ but Josef A Physioc, the young scenic artist of the Garrick Theatre, claims to have been the first to use the miniature stage, complete in every detail, for the guidance of actors, managers, carpenters, and ‘utility’ men. The accompanying picture of the model stage, set for the first scene in ‘Tess of the D’Urbervilles,’ illustrates the miniature stage as used by Mr. Physioc…Another picture shows the model stage set for a scene in ‘Couried Into Court. These miniature scenes are constructed in the ‘model room.’ The picture shows Mr. Physioc and George W. Dayton. An ‘exterior’ painter, at work upon a sketch preparatory to transforming their idea into a model. On the walls, on the table – everywhere – are models, sketches, and the countless suggestive things that litter up the studio.” (p. 27). Dayton Sr. was noted as simply “an exterior painter.”
By that fall, the Dayton family had moved again. On October 3, 1898, the “Altoona Tribune” announced, George W. Dayton, 623 West Washington. The scenic artist, with his family has removed to Thomastown” (page 3)
Dayton Sr. was listed as still living at Park Ave., confirmed in the 1900 US Federal Census. That year, the Dayton Sr. household at 1088 Park included: Geo. Sr. (Jun 1840, 59 yrs., married 12, scenic artist), Mary (Aug 1866, 33 yrs., mother of 4), Irwin W. (July 1888, 11 yrs.), Eugene (July 1891, 8 yrs., Philadelphia), Oscar V (Sept, 1897, 2 yrs.), Florence E (Sept 1874, 25 yrs.), Arthur B. (Nov 1876, 23 yrs., California, artist), Mary McCarty (Mother-in-law, May 1843, 57 yrs., mother of 13).
They were also counted in a second census report that year. In 1900 the Dayton family was also listed as living in Snyder, Blair, Pennsylvania. The Dayton household included George, Mary, Irwin, Eugene, Oscar V., Florence, Arthur, and his mother-in-law Mary McCarty.
On March 31, 1904, the “Tyrone Herald” reported, “George Washington Dayton, Tyrone’s boss artist, Vail’s central station postmaster, and the general community’s greatest jokester was in town Monday with four telescopes, a monster magnifying glass, a double-action six shooter Colt’s army revolver and a belt full of cartridges, looking for a lot which he purchased recently and upon which he advanced one-third of the purchase money but failed to get information as to the location of the property” (page 5).
On Sept. 11, 1904, “The Brooklyn Daily Citizen” reported, “The veteran scenic artist, George W. Dayton, painted the scene for Milton Nobles’ new comedy, ‘The Days of ’49.’ In 1875, Mr. Dayton got up the first scene for ‘The Phoenix,’ when Milton Nobles came forward as a star, in the now famous play of that name. Mr. Dayton has painted nearly one-half of the cycloramas that have been exhibited in this country since the Civil War” (page 3].
George W. Dayton Sr. passed away shortly after his 80th birthday, He died in Snyder Township, Blair Country, Pennsylvania, on June 25, 1909. The cause of death was listed as “Chronic Interstitial Nephritis,” an ailment that had lasted for approximately 6 months. His occupation was listed as “artist.” Dayton was buried in Grandview Cemetery, Tyrone, Blair County, PA. His obituary was published in the “Tyrone Daily Herald on Jan. 27, 1909 (page 4). It stated:
“FAMOUS ARTIST GONE. On Monday afternoon at 8:30 o’clock, George W. Dayton, the famous scenic artist. Died at his home at Vail. Mr. Dayton had been in failing health the past years from complication of diseases and was unable to leave his home the past two months. He gradually grew worse until death claimed him at the above-mentioned time. He was a kind, affectionate husband and father and will be greatly missed in the home. George W. Dayton was born in New York City, June 19, 1839, making his age 69 years, 7 months and 6 days. Mr. Dayton was married twice. His first wife preceded him to the grave in 1885. Two children were born to this union. His second wife, Mary E. Dayton, and the following children survive’ Mrs. William Ruhe, of China, Arthur B. Dayton, New Milford, Ohio, Irving. Eugene and Oscar, at home. The funeral will occur on Thursday afternoon at 1:30 o’clock. Services conducted at the home by Rev. George T. Gunter. Interment in Grand View Cemetery, Tyrone.”
His Eulogy was also included in the article:
“Eulogy of Geo. W. Dayton. One more friend is gone, one more father less, one more familiar face missed from among us. George W. Dayton passed away Jan. 25the. He has left a vacancy in the world of painters, for he was no common craft. His hand that held the brush was of cunning skill, as he stood high among the galaxy of old school painters fast fading from our midst. Although old it be, yet it was glorious in its day, as it has pointed the way to the newer school of painters. Just as from Chaucer sprang the renaissance of English literature, so from men of Dayton’s day evolved the present school of scenic art, He painted great scenes. He put his brush to a white mass of canvas and behold, trees rustled in the breeze, mountains swam in the hazy distance, mosses clung to magnificent architecture, shapely columns and sweeping arches gleamed among cypress and cedar. His touch had magic in it; his color was sweet and harmonious – never jarring or gaudy. An artist who stands high in his profession, said to me not long ago, ‘If I could handle the difficulties of scenic art as Dayton once did, I should consider myself a master.’ One of the charms of Mr. Dayton was his unfailing cheerfulness. His life had its ups and downs, its smiles and tears, but through all, he never changed. In my long association with him I never heard him condemn. ‘If you can’t speak well of anyone, hold your tongue,” was his oft-repeated advice. He was born in New York city considerably over a half century ago. In his early youth he showed decided talent for his chosen profession. There is much that is somewhat obscure in his early days. A hint or two he let drop led me to believe that his first venture was a turn in a circus, but of this I am not sure. The first definite knowledge we have of him was when he was about eighteen years of age. Then owing to the undoubted talent he displayed he was installed as a scenic artist of the old Bowery theatre in New York. This position he filled for three or four years. When his marked ability became apparent, his services were in demand. After a prosperous career here, he was offered an engagement in the principal theatre of San Francisco, his salary being among the highest in those days, paid in gold. He, owing to his genial disposition and talent, was presented with a handsome gold watch in token of esteem. All artists are more or less nomadic; so later we find him holding positions in many of the principal cities of the country. He was in Chicago immediately before he came to Tyrone. About twenty years ago he became a member of the corps of artists in the studio of Wm. F. Wise & Co. Many remember some of the drop curtains he painted and how his ability was felt by all. Now his eventual life is ended. When he lay upon his bed of death, his hands clasped by two of his friends, he looked up at us and with a flicker of his old time smile, joked even then, and after a pause, he turned to his wife and said, ‘I do not fear death.” There was no pain and he passed on a few days later into a calm and peaceful sleep. -A friend.”
While researching the life and career of Joseph C. Blaine, I stumbled across an 1885 newspaper article in the “Chicago Tribune,” one that made me both celebrate and curse. It was a list of Sosman & Landis employees who made contributions to the Grant Memorial Fund that year.
As I read through the list, my heart sank. Although I had written biographies for several of the artists, the majority of names were entirely unrecognizable. This discovery means that I have thirteen more biographies to write. Yay! Argh!
Can you sense a hint of disgust with my jubilation?
Here is the article as it was published in the “Chicago Tribune” on Aug. 2, 1885 (page 9):
“Rolling it up.
Thousands contributing their dollars and dimes to the memorial fund.
There will be $50,000 in Bank before Old Commander is Laid to Rest.
Those who contribute should do so immediately – yesterday’s list of subscribers.
A committee from the clubs and prominent commercial lines to solicit donations. Following were the subscribers to the Grant Memorial find at the Tribune office yesterday:“
Here is the section on Sosman & Landis…
Following is a list of the employees of Sosman & Landis who subscribed to the fund:
I’ll keep you posted on my progress as I slowly work my way down the list, starting with George W. Dayton. There is no way to know whether it is George W. Dayton Jr. or Sr., as both were scenic artists.
In 1873, Joseph Sosman assisted scenic artist T. B. Harrison at the Chandler Opera House in Macomb,. Illinois. At the time, Sosman was well-known as a sign painter in town, having moved to Macomb only eight years earlier.
On April 17, 1873, “The Macomb Journal” reported, “SCENE PAINTING. As well as the entire design and arrangements of the stage is the handiwork of the eminent artist, T. B. Harrison, of Chicago. The stage, of course, is the focal point of all the attractions of the establishment and he who took the task of its design and execution has indeed an onerous one. But the one who looks upon the work of Mr. Harrison will decide that he has in masterly manner accomplished more than was expected. In the painting he has been ably assisted by our young friend, Joe Sosman; Joe has superior abilities, and our citizens will wake up some fine morning and fin in him, that Macomb has a first-class artist” (page 3). Sosman continued to make the Macomb news over the years, as this small town followed his continued success as a scenic artist and founder of Sosman & Landis.
This was a turning point in Sosman’s career, initiating his shift from sign painting to scenic art. In regard to Harrison, Sosman could not have selected a better mentor.
This post is about the life and career of Thomas B. Harrison (1836-1895). In later years, Harrison was remembered by citizens of Clinton, Missouri, as an “erratic genius” (June 23, 1900, “The Clinton Eye”). Harrison must have greatly inspired Joe Sosman at the beginning of his career. Here was an individual who appears to have dreamed big, trying his hand at everything within reach. Harrison was also key to the later Chicago connections for Sosman, facilitating many introductions for Sosman’s later success.
I do wonder how involved Harrison was with the mechanical engineering at Sosman and Landis throughout the 1880s and early 1890s. I also wonder how much he really contributed to the firm, contributions that made Sosman so loyal to Harrison throughout his life.
Newspaper accounts purport that Thomas Benjamin Harrison was born in Hull, England, on February 16, 1836. However, I have yet to locate any definitive proof. Harrison’s baptismal records were dated less than a week later on Feb. 21, 1836, in Selby in North Yorkshire. For geographical context, the Selby is approximately 38 miles due west of Hull, with a river and canal system connecting to two. In 1840 the railway from Selby to Hull opened, expanding transportation options.
The parish of Selby where T. B. Harrison was baptized in 1836.
Thomas was the eldest of two children born to Benjamin Harrison (1804-1891) and Ann Smith (1804-?). Benjamin and Ann’s Marriage Banns, dated from May 15, 1834, in nearby Leeds. This is the same year that the Leeds and Selby Railway was completed, further expanding transportation options for local residents. Leeds is approximately 25 miles due west of Selby. Selby is approximately halfway between Hull and Leeds. Here is a great link to an article about Selby that was published in the “Yorkshire Post” – https://www.yorkshirepost.co.uk/heritage-and-retro/heritage/history-selby-once-port-west-riding-and-reputed-birthplace-henry-i-2936178
The 1841 England Census listed the Harrison family as living in Selby. Household members included head-of-household Benjamin Harrison (35 yrs.), wife Ann (35 yrs.), son Thomas (5 yrs.) and daughter Ann (1 yr.). Sometime between the 1841 census and 1847, the Harrisons relocated south to Oxfordshire. In 1847 Benjamin Harrison was listed as a cabinet maker, located at 28 St. Aldate’s street. It remains unclear as to what prompted the move or what exactly happened to his first wife; I have yet to locate any death certificate.
The trip from Selby to Oxfordshire if one were to travel by foot.
In 1849, Benjamin Harrison married a second time. He and Sarah Schutt were wed at St. Wilfrid’s Church in Calverley on Feb. 18, 1849. Calverley is approximately six miles northwest of Leeds.
St. Wilfrid’s Church, Calverly.St. Wilfrid’s Church, Calverly.
Soon after their marriage, the Harrisons emigrated to the United States of America. Sailing aboard the Columbus, their arrival is documented in an Arriving Passenger Crew List, dated June 29, 1850. At the time, the Harrison family included Benjamin (46 yrs. cabinet maker), wife Sarah (41 yrs.), and four children: Thomas (14 yrs.), Ann (10 yrs.), Charles (9 yrs.) and unnamed infant. I have yet to confirm if Charles was the biological son of Benjamin and his first wife, or Sarah’s child from a previous marriage. He could have even been relative, simply traveling with the couple at the time, which may be possible as he disappeared shortly after arrival.
The Columbus sailed with 661 passengers from Liverpool to New York. Amazingly, the Harrison family is even included in the publication, “The Famine Immigrants: Lists of Irish Immigrants Arriving at the Port of New York, 1846-1851 Vil VI (June 1850-March 1851)” by Ira Glazier and Michael Tepper (Baltimore: Genealogical Publishing Co., 1985, pp. 1-150).
The Harrison family was also counted in the 1850 US Federal Census. At the time, they were living in Bloomfield, Clinton County, Iowa. Oddly, only two of the four children from the ship’s passenger list were listed in the census report: Thomas (15 yrs.) and Anne (11 yrs.). It remains uncertain if 9 yrs. old Charles and the infant passed away, or if they were reunited with relatives. There were only a few months in between their arrival and the census report.
Six years later, the Harrisons were living in nearby Maquoketa, Iowa, counted in the State census. The 1856 Iowa census listed 52-yrs.-old Benjamin Harrison as a cabinet maker, living with his wife Sarah (47 yrs. old) and four children: Thomas Harrison (20 yrs.), William H. (4 yrs.), Sarah J. (2 yrs.), and Mary A. (1 yr.). These were all the biological children of Benjamin and Ann, born after the couple’s arrival in America, and when Sarah was in her mid-40s; Thomas’ half-siblings. The 1850 census also listed Thomas Harrison’s occupation as a painter. Later reports purport that Harrison’s artistic and academic training were solely obtained in England, but this would have been only until the age of 14.
The 1860 US Federal Census report listed that the Harrison family household included Benjamin (58 yrs.), Sarah (50 yrs.), William (8 yrs.), Sarah (7 yrs.) and Mary (5 yrs.), all still living in Maquoketa. By this time, Thomas was 24-yrs.-old and living on his own. I have yet to locate his whereabouts between 1857-1861. He briefly disappears from public records until 1862 when he enlisted in the Iowa Infantry. He possibly traveled as an itinerant painter, going from town to town throughout the region, as was common with many scenic artists at the time.
Harrison’s US Civil War draft registration card listed his occupation as “painter.” At the time, he was 27 yrs. old. The US Army register of enlistments provides addition information about this young unmarried man. His appearance was listed as black, hair, black eyes, and a ruddy complexion. Harrison enlisted Sept. 30, 1862, as a 2nd Lieutenant in Co. B., 26th Iowa Infantry. He was soon discharged, however, due to constant illness. He served a second time, with the same company. Harrison’s obituary remembered, “He saw much service and was twice severally wounded at Fort Donelson and in Arkansas, from the effects of which he never recovered. He was a true soldier and patriot.” Harrison mustered out on March 10, 1863, in Young’s Point, Louisiana. From Louisiana, he headed to New York. By fall, he sailed from New York to New Orleans aboard the Evening Star. On Oct 18, 1863, “The New York Times” listed T. B. Harrison of a steamship passenger bound from New Orleans (page 8).
From New Orleans, Harrison moved to Chicago, where he rapidly rising to the top of his profession as a scenic and easel artist. In 1864, Harrison was listed a one of several artists exhibiting their oil paintings at Jevne & Almini’s. The group included two other well-known scenic artists such as Minard Lewis and William Voegtlin. On June 17 – 20, 1864, a “Chicago Tribune” advertisement announced:
“Chicago Artist’s Sale, by Gilbert & Sampson, of Fine Oil Paintings, at Auction. We will sell on Tuesday Evening, June 21st at 8 o’clock precisely, the fine collection of Oil Paintings, by Chicago Artists, which have been on exhibition at Jevne & Almini’s, and are now removed to our salesroom, in order to accommodate those who wish to purchase and could not get admittance at the room on Washington street. All the paintings exhibited at our room will be sold without reserve. The paintings of the artists who had someone to bid on their paintings unbeknown to the others will not be put into the sale. The paintings will be on exhibition day and evening until the time of the sale (Sundays excepted.) This collection has been very much admired and are from the hands of our best artists, viz: H. C. Ford, Mrs. Nicholson, J. H. Drury, Paul Brown, P. Fishe Read, Jacob Cox, J. R. Sloan, D. F. Bigelow, Alfred Sederberger, Belden J. Woodman, Kaye E. Cameron, H. N. Gager, Mary A. Thomas, Wm. Voegtlin, Miss E. Mackway, Minard Lewis, Mrs. Hall and T. B. Harrison. The attention of all our citizens who are in want of good paintings particularly called to this sale, and are invited to call and see then while on exhibition. Gilbert & Sampson” (page 4).
T. B. Harrison listed as one of the artists in 1864.
Now, this places a few key players in the same group. Harrison was intimately involved with the Chicago Academy of Design (CAD) and the Chicago Academy of Fine Arts. There is a fascinating article by John Dryer entitled “The Demise of the Chicago Academy of Design and the Rise of the Art Institute of Chicago (“Journal of the Illinois State Historical Society” Vol. 113 Nos. 3-4 Fall/Winter 2020). According to Dryer, “Shortly after the war ended, the CAD was founded in 1866. Its stated purpose was to offer artists a studio to rent, regular exhibitions and teaching ateliers.” By 1867, many of the organizations activities were held at the top floor of the newly constructed Crosby Opera House on Washington Street.
To place this within the history of American scenic art, Lou Malmsha (1845-1882) was one of the scenic artists who worked at Crosby’s Opera House during this time. He initially trained with Mr. Arragon at the venue, having emigrated from Sweden in 1863. By 1866, Malmsha was also painting scenery in New York, and was listed as one of the scenic artists who delivered scenery for the original production of “The Black Cook” at Niblo’s Garden.
Thomas G. Moses trained with Malmsha in 1873, at the same time that Sosman trained with Harrison. Both Moses and Malmsha also worked at P. M. Almini’s during this time as decorative painters. Late in life, Moses recalled the talents of Malmsha, writing, “He was a very clever man. In all the years that have passed since then, I have never found a man that could do so little and get so much out of his work, very simple in drawing and color, but very effective.”
In 1868, Harrison was listed as one of the Committee members for a Chicago Academy of Design event, held at Crosby’s Opera House. At the time, there were approximately sixty members in the organization.
On March 3, 1868, the “Chicago Evening Post” included T. B. Harrison was listed as a Committee member or the tableaux vivant, a featured event for the Chicago Academy of Design art reception at the Opera House (page 4). The tableaux scenes that were reproduced included The Laocoon Groupe; Fighting for the Dead Body of Patrocius, as seen on the frieze of the Parthenon; Dirce; Thorwaldsen’s Apollo and the Muses; Groupings from Raphael and Murillo; and a scene reproducing the features of ancient Egyptian art. The article reported, “The effects of these pictures, given living figures, will be indescribably beautiful and afford something that has never been presented in this city. Tickets can only be attained from the Committee, which is composed of the following gentlemen: Chas. Knickerbocker, U. H. Crosby, Conrad Diehl, H. C. Ford, Walter Shirlaw, J. F. Gookins, Louis Kurtz, Chas. H. Brower, P. Almini, Chas. Peck, J. F. Aitken, G. S. Collis, T. B. Harrison, G. A. Binkert, W. B Baird, or at Room No. 9 Opera House.”
There are a few things to note about some of the abovementioned individuals in this group. In 1865 Jevne & Almini joined with Louis Kurtz to form the Chicago Lithographing Co. Their portfolios provide great insight into the bustling city of Chicago before the great fire of 1871. Kurtz, a German emigrant, moved to Chicago in 1864 where he worked as a scenic artist at both Crosby’s Opera House and McVicker’s Theatre.
The Chicago Academy of Design held private gatherings and public events at Crosby’s Opera House prior to the great Chicago Fire of 1871. The organization’s art exhibitions were frequently featured at the Crosby Art Gallery or in The Almini & Jevne Building on Clark Street. The CAD also leased space at a new building on Adams Street by 1870.
For a little more context, after the 1871 fire, Jevne and Almini separated, each going their own way and founded two new companies: Otto Jevne & Co., 226 E. Washington Street and P. M. Almini & Co., 344 State Street. Almini remained much more active with the CAD, constantly employing many of the artists.
Although CAD membership greatly declined after the firs, in 1872 the Council of the Chicago Academy of Design rented L. W. Volk’s building at the corner of Michigan Avenue and Van Buren Street (Chicago Tribune 18 Oct 1872, p 8). Leonard Wells Volk (1828-1895) was a sculptor and president of the CAD. This was a period of great transition for the CAD, helping prompt the rise of the Chicago Academy of Fine Arts.
Like many scenic artists after the fire, Harrison travelled throughout the country again, securing work as a scene painter, photographer, lecturer, and inventor. He sporadically appeared various directories across the country.
Keep in mind that his travels also coincide with the onset of the Long Depression in 1873, and economic downturn that and lasted until 1879. This period of financial struggle is considered the first Great Depression in the United States. The event prompted many artists to expand their services, and immediately grasp at any business opportunity that came their way.
The 1873 Chicago Directory listed Thomas Harrison as a photographer at 79 Blue Island Ave. Again, this was a common listing for many scenic artists who were very active in early photographic endeavors. They accepted a variety of projects that included, photography, interior décor, sign painting, carriage painting and illustration. Photograph was also the same occupation as Harrison’s later short-term business partner Ed Pearce.
In 1873 Harrison was likely accepting any work that came his way. It was at this time that he painted scenery at Chandler’s New Opera House in Macomb, Illinois. Again, it was in Macomb that he met, befriended, and trained Joe Sosman. Chandler’s New Opera House opened on Monday, April 21, 1873. Constructed by C. V. Chandler as a cost of $30,000, work commenced on April 7, 1872. The theater was located on the second floor of the building, with retail occupying the first floor. The lower story was 16’ high and the second story was 24’ high. The seating arrangements were divided as follows: level floor (60×40, 850 chairs); the rear 20×60 is separated by low balustrade, the seats five in number, rising one above another to the rear, thus giving the farthest from the stage an elevated position; about 175 persons can, with ample room for each occupy this division….Dress circle, or gallery seats 225.
On April 17, 1873, “The Macomb Journal” reported, “SCENE PAINTNG. As well as the entire design and arrangements of the stage is the handiwork of the eminent artist, T. B. Harrison, of Chicago. The stage, of course, is the focal point of all the attractions of the establishment and he who took the task of its design and execution has indeed an onerous one. But the one who looks upon the work of Mr. Harrison will decide that he has in masterly manner accomplished more than was expected. In the painting he has been ably assisted by our young friend, Joe Sosman; Joe has superior abilities, and our citizens will wake up some fine morning and fin in him, that Macomb has a first-class artist” (page 3).
On May 8 and 15, 1873, “The Macomb Journal” reported, “Oh! How beautiful! A thing of beauty is a joy forever. They include nearly every scene now finished in Chandler’s magnificent new Opera House and all are for sale any size card, stereoscopic, or 8 x 10. These pictures are from the paintings by Prof. T. B. Harrison, who is a master in his profession. They can be had at Hover & Zumbro’s, East Side Square” (page 3).
Harrison continued to travel throughout the country, and briefly settled in Boston during 1874. On Jan. 16, 1874, the “Chicago Tribune” announced Harrison’s arrival at the Sherman House in Chicago (p. 7). Despite extended travels, Harrison maintained a home with Edward Pearce in Macomb, Illinois, until 1875. On Jan. 7 and 14, 1875, “The Macomb Journal” announced, “Prof. T. B. Harrison and Ed Pearce have gone to make their home in the city of Quincy. How the band will get along without them we can’t tell” (page 3).
Pearce returned to Macomb two years later. On Oct. 25, 1877, “The Macomb Journal” reported, “Ed Pearce has returned to Macomb and opened a new photograph establishment in the rooms over Joe Adcock’s store” (page 3). He continued in this business for the next few years. On Oct 16, 1879, “The Macomb Journal” reported, “Ed Pearce having returned from taking lessons in the higher art of photography, can be found at Tom Philpot’s excellent photographic rooms” (page 3).
Harrison also returned to Macomb for various projects. In 1876 he designed “Red Man’s Room” decorations. The local newspaper described Thos. B. Harrison as “a well-known artist of this City.” The paintings were executed by both Harrison and Jos. S. Sosman.
On June 7, 1877, “The Macomb Journal” reported the following in regard to “Proceedings of a Regular Meeting of the Macomb City Council” (page 2):
“On motion, an appropriation of $10 was made to pay T. B. Harrison for a map of cemetery, and clerk was instructed to draw order on treasurer for the amount. A second announcement stated, “On Motion, T. B. Harrison was instructed to make another map similar to the one just finished, the cost not to exceed $7.50.”
Later in life, Harrison’s obituary recalled that he studied in Europe, Egypt and the Holy Land. It detailed that his natural proficiency for multiple languages prompted his career to branch off in an additional direction. Harrison’s obituary recorded that he contributed magazine articles on both scientific and art subjects under a nom de plume, and publicly lectured on foreign lands.
In 1878, Harrison was still traveling as a scenic artist throughout the Midwest. On October 10, 1878, The Osceola Sun reported, “T. B. Harrison scenic artist of Chicago is here painting the scenery for Hedrick’s new Hall. This hall when completed will be one of the best in southwest Missouri” (page 3). On Nov. 2, 1878 the Butler Bates County Record reported, “The Messrs. Hendrick, of Appleton City, are finishing one of the finest halls in the southwest. It is 25×100 feet, is provided with a stage and scenery and will be seated with chairs. The scenery and fresco work is being done by Mr. Harrison, a scenic artist of Chicago, and is as fine as that done anywhere. The Appleton Dramatic society will dedicate the hall as soon as completed, due notice of which will be given” (page 3).
Harrison purportedly helped establish the Chicago Academy of Fine Arts in 1879, later renamed the Art Institute of Chicago. Harrison was well respected as a professor at the Institute.
On Oct. 31, 1879, “The Cass County News” reported, “T. B. Harrison, the artist-traveler, has been entertaining our people with his lectures on Foreign travel during the past three evenings, closing the season for which he was advertised on Wednesday evening, having had good audiences of a highly appreciative class during the entire course. At the close on Wednesday evening a request was made by a unanimous expression of the audience, asking him to remain longer, whereupon Mr. H. signified his willingness, and announced the three nights closing the week. Our citizens who have not attended these superbly illustrated lectures, which are in themselves of the highest order, have missed a treat, Yesterday evening the lecture embraced a tour of Holland, Denmark, Norway, Sweden, Russia, Turkey and Greece. To-night (Friday) Africa, Palestine, the Ruins of Pompeii, and Spain. Saturday evening, the Lakes of Northern Italy, Milan, Pisa, Florence, Bologna, Naples, Venice, Rome, St. Peter’s Church and the Vatican. We predict large audiences, as a lifetime may be spent without another opportunity of hearing lectures of as high an order or of witnessing as superb illustrations” (page 3).
On November 29, 1879, “The Lexington Intelligencer” reported, “Thos. B. Harrison’s Pantascope, a unique series of art illustrations, forming an epitome of foreign travel, producing with realistic effect the most beautiful, picturesque and romantic places of the world, which has been exhibiting at the opera house the past week, is an entertainment of the highest order of merit and has been liberally patronized by our citizens. The programme for the first evening was France, Paris and Switzerland, the second evening, Germany and the river Rhine; third, England, Ireland and Scotland; fourth, the Netherlands, Russia, Turkey, Greece and Egypt, and last evening, the Holy Land, Pompeii, Africa and Spain. To-night will be Italy, Venice, Rome and the Vatican. There will also be a matinee this afternoon at two o’clock, at which will be presented Germany and the river Rhine. Mr. E. D. Graham, the advance agent and business manager, was formerly editor of the Clinton Advocate, in this state, and is a thorough gentleman, as are all those connected with the exhibition. From here they go to Richmond, and we cordially recommend them to the citizens of that ancient burg. The money expended in thus getting a glimpse of the Old World and its many historic places and buildings could not be more beneficially spent by either old or young” (page 3).
1880 advertisement for Harrison’s Pantascope.
On February 27, 1880, the “St. Joseph Gazette” included an advertisement for Harrison’s Pantascope (p. 1). Harrison exhibited “A Unique series of Art Illustration Forming a Perfect Epitome of Foreign Travel, producing with realistic Effect the Most Beautiful Picturesque and Romantic Places of the World.” The advertisement promised, “Am entertainment of the Highest Order of Merit, universally commended by all persons of culture, taste and refinement.” Harrison’s show was performed at the Fifth Street Methodist Church every day that week for a price of 25 cents for adults and 10 cents for children. A short announcement in the “St. Joseph Gazette” on Feb 27, 1880, reported, “Harrison’s Pantascope is among the very best entertainments of the season. To-night the program is unusually attractive. It includes a ‘journey’ through the Holy Land, views of Pompeii, and scenes in Old Spain” (page 4).
On March 11, 1880, “The Macomb Journal” announced, “T. B. Harrison, formerly of this place was in St. Joseph, Mo., last week, exhibiting his pantascope” (page 2). On Oct 29, 1885, “The Macomb Journal” reported, Professor Thomas B. Harrison, a former well-known citizen of Macomb, has been in our streets the present week” (page 5).
Later that spring Harrison returned to Macomb. The “Henry County Democrat” announced, “Remember, Pantascope, City Hall, April 19” (p. 3).
Although his work with Sosman in Macomb was short-lived, the two remained close friends until Harrison’s passing in 1895. Sosman was even mentioned in Harrison’s obituary. The “Henry County Democrat” remembered, “While painting scenes in the Macomb Opera House, he took in a young boy to mix paints and be of general utility. That boy was Joe Sosman, now senior member of Sosman & Landis, Chicago, the leading theatrical contractors, and outfitters in America. Joe Sosman made his fortune, but he never forgot how much he owed to Tom Harrison. And during all of the ups and downs of Tom’s career, Joe was his steadfast friend.”
Harrison was also an inventor, developing a series of inventions over the years that included a steam hammer, a compressed air hammer, and other improvements for both manufacturing machinery and typewriter machines.
Described as an “artist of rare merit,” he remained in Clinton, Missouri, after painting a drop curtain for the opera house, teaching both drawing and music.
While in Clinton, Harrison grew attached to Samuel J. Seifried, taking the young man on as an assistant The 1880 Census listed Harrison, Samuel Seifried, and his father, William Seifried, all living at the same boarding house on Main Street. The census report listed Harrison as a 41 yrs. old artist, Seifried as 14-yrs. old “at home,” and William as 36 yrs. old “hotel clerk
Samuel Seifried was born in 1866 in Missouri, the eldest son of William J. Seifried (1844-1935) and Amelia M. Heckler (1858-1885). His siblings included Henry C. (1872-1875), Charles E. (1875-1896), George E. (1877-1878), Willie E. (1879-1881), and Barbara (1882-1912). Amelia passed away on Feb. 18, 1885. William married his second wife Emma E. Volkman (1867-1934), about 1889, and five children were born to this union: Winfred W. (1891-1976), Louis M. (b. 1897), Alberta (1895-1979), Reinhold V. (1904-1968), and Eunice (?-1896)
Samuel’s maternal grandmother, Katherine Drach, was known in Clinton, Missouri, as “Mother Seifried.” She was born in 1818 in Unistadt, Germany, emigrating to America in 1837, and marrying Jacob Seifried (?-1899) in March 1841. The couple celebrated the birth of eight children, including Samuel’s father, William John Seifried (1844-1935).
For a little context…Samuel’s father worked as an interior decorator, who, in 1882, he was listed as a painter in the St. Louis directory, residing at 2821 Sheridan Ave.
On Nov. 1881, “The Windsor Review” in Missouri reported, “Last Weeks Spree. Four Days at the Appleton City Fair.
By the kindness of Mr. Harrison, the scenic artist, we were shown through the magnificent Durley Hall of which this town is justly proud. It is undoubtedly the finest Opera House in Southwest Missouri and stands an everlasting record to one man’s enterprise. Harry W. Grantley, the builder of this gran edifice has spare neither money nor brains in rearing it and it certainly does him great credit, Complete in every detail, any play can be realistically produced on the stage. The artist, Mr. Harrison, has done excellent work here, the drop curtain being a masterpiece of artistic originality, and all of the vast amount of scenery shows evidence of his genius.”
On April 23, 1882, The Leavenworth Standard reported, “Around the World. The unique art delineation of European life will open at the Delaware Street Opera House Tuesday evening. It is said to produce with realistic effect the most beautiful, picturesque and romantic places in the world. It is in the hands of G. W. Hutchins, of Philadelphia, and T. B. Harrison, artist traveler and member of the London, Paris, Berlin, Florence and Rome schools of art” (page 4)
On July 26, 1882, the Ottawa Daily Republic of Kansas announced, “Mr. Harrison, the scenic artist of the new Opera House had begun work on the large drop curtain, and it promises to be one of the handsomest pieces of art in the state” (page 1).
Harrison also produced stock scenery for Moore’s Opera House in Nevada, Missouri. Harry Miner’s Dramatic Directory for the 1882-1883 season credited Harrison with 20 sets of scenery at the venue. Harrison’s scenic art was also listed in Harry Miner’s Theatre Directories, for 1884 and 1887. He was credited with stock scenery collections at the Opera House in Clinton, Missouri; L&S Moore’s Opera House in Nevada, Missouri; Lamar Opera House in Lamar, Missouri; and the New Odeon Theatre in Maquoketa, Iowa.
Here is a summary of the known stock scenery collections delivered by Harrison during his lifetime:
Chandler’s Opera House (Macomb, Illinois, 1873)
Opera House (Clinton, Missouri, 1880)
Opera House (Lamar, Kansas, c. 1882-1884)
New Odeon Theatre (Maquoketa, Iowa, c. 1882-1884)
L&S Moore’s Opera House (Nevada, Missouri, c. 1882-1884)
Opera House (Ottawa, Kansas, 1882)
Opera House (Sedalia, Missouri, 1883)
On May 13, 1882, “The Falls City Journal” of Falls City, Nebraska, reported, “Around the World. A unique series of artistic delineations of European life; by G. W. Hutchings, of Philadelphia, and T. B. Harrison, Artist Traveler, and member of celebrated art schools of London, Paris, Berlin, Florence, and Rome. A perfect epitome of foreign travel. Am entertainment of the highest order of merit, universally commended by all persons of culture, taste and refinement. At the Opera House, May 16th and 20th, Admission 25 cts. Reserved seats 35 cts. Children and gallery seats, 15 cts. Season tickets only 75 cts” (page 5).
On Aug. 5, 1882, The Ottawa Daily Republic (Kansas) reported, “Mr. Harrison, the scenic artist at the new opera house, thinks the REPUBLICAN was premature in inviting folks to see the new drop curtain. He don’t care to be bothered by visitors and has locked the public out. So you needn’t go to see the new curtain just now.” (page 4)
1883- Sedalia, Missouri: On March 13, 1883, the “Sedalia Weekly Bazoo” of Missouri reported, “H. C. Moore, president of the opera house stockholders. presented T. B. Harrison, the scenic artist, with a fine gold headed case on which is handsomely inscribed” From W. C. Moore to F. B. Harrison, 1883” (page 5). All this time, Harrison traveled with his assistant “Sammie.”
On March 24, 1886, Harrison became a naturalized citizen in Montgomery, Missouri. This may have been prompted by a series of inventions that both he and Seifried were working on at the time. On Dec. 27, 1888, the “Versailles Republican” announced the patent was granted for T. B. Harrison’s Anderson, typewriter” (page 4).
Seifried proved to be not only a wonderful assistant, but also a fellow inventor. Harrison later listed “Sammie” as his adopted son, leaving him everything upon his passing in 1895; an estate valued at $4000. The two repeatedly toured the European continent for well over a decade, although I have yet to uncover any travel records or passport applications. During their travels through France became interested in the Braille system, returning with information and several ideas. Upon their return, the couple developed a typewriter for use by the blind and established the manufacturing firm of Harrison & Seifried. Harrison & Seifried was located at 181 E. Division Street in Chicago. They advertised as “Designers and Builders of Light Machinery.”
T. B. Harrison and Samuel Seifried advertisement for their firm Harrison & Seifried, Chicago.The typewriter manufactured by Harrison & Seifried.
The Hall Braille typewriter (also called a Braillewriter or Brailler) was invented in 1892 by Frank Haven Hall, who was the Superintendent of the Illinois Institution for the Blind. The Hall Braille typewriter was manufactured by the Harrison & Seifried company in Chicago, Illinois, USA. Hall introduced his invention on May 27, 1892, at Jacksonville, Illinois. It types raised Braille dots onto paper. For more information, see: http://www.enchantedlearning.com/inventors/1800b.shtml]
“In 1892, Hall had the skilled local Gunsmith and Metal worker Gustav Siebel make a prototype of his machine. Hall took Sieber’s prototype to the Munson Typewriter Company in Chicago, where superintendent T.B. Harrison and designer Samuel J. Seifried, inventor of the Munson typewriter, created six pilot models. Harrison and Seifried in seeing the great potential of this revolutionary machine, then left the Munson Typewriter Company to start their own company. They made an additional 94 machines based on the initial design for Hall. The Hall Braille-writers that followed were essentially of the same design but there were alterations to be seen, especially in the carriage construction.”
The braille typewriter manufacturer by Harrison & Seifried, c. 1892.
Previously, each was associated with the Munson Typewriter Company. On Dec. 7, 1890, the “Chicago Tribune” announced, Samuel J. Seifried, Secretary of the Munson Typewriter company, filed a certificate to record the increase of the capital stock of the company from $60,000 to $100,000” (page 6).
Harrison’s involvement with the typewriter was detailed in an 1887 newspaper article. On April 7, 1887, “Logansport Pharos Tribune” of Logansport, Indiana, reported:
“The Pharos spoke briefly the other day of the Harrison type writer being on exhibition in the city, but if failed to mention some interesting facts connected with the history of the patent. The machine is the result of the genius of Prof. T. B. Harrison, the gray-haired gentleman who gave a series of illustrated art lectures at Dolan’s opera house last year. The Professor has traveled all over the world and is a cultured and interesting talker. After leaving Logansport he went to Anderson, and while there fell in with Father Weichtman, the Catholic minister, a whole-souled gentleman who immediately took a great liking to the aged traveler. Prof. Harrison was full of his proposed type-write patent, and Rev. Weichtman immediately set to work to interest local capitalists in the device. The result was they advanced the money to secure the model and patent, and the little machine was finally built and improved, until it was brought to the point of perfection shown in this city, the model alone costing $900. We see from the Indianapolis papers that the Anderson company has been incorporated with $10,000 capital and will soon begin manufacturing Harrison’s typewriter. It can be stated in this connection that good judges in this city who examined the machine pronounce it decided improvement over other standard typewriters” (3).
Harrison continued to invest in the performing arts and established a touring company. I have yet to track down the details, but on July 7, 1892, the “Sterling Standard” the T. B. Harrison Theatrical Co. as the employer of leading man, Thomas Alexander (page 3).
In regard to Harrison’s extended family in America…his father, Benjamin, passed away on Oct. 8, 1891. Buried in Mt. Hope Maquoketa, Jackson, Iowa, he is buried next to several other family members, including his eldest son Thomas. Thomas B. Harrison passed away on August 13, 1895 in Chicago, Illinois. Newspapers reported that Harrison’s death was caused from “slight paralysis occasioned by excessive mental labor.” His noted occupation at the time was listed as “inventor.”
On Sept. 19, 1895, “The Henry County Democrat” of Clinton, Missouri (page &) reported,
“Death of Tom Harrison. Sketch of the Life of a Talented Artist and Genial Man.
The people of Clinton who learned to admire Tom Harrison, the artist, for his many genial qualities, will be pained to learn of his death in Chicago. Mr. Harrison painted the scenery for the Clinton Opera house and as a young man, of this city, Sam J. Seifried, has been his constant companion for years. The editors of the DEMOCRAT had a warm personal acquaintance with Mr. Harrison long before he came to Clinton. For many years he lived in Macomb, Ill., and every man, woman, and child in that city admired his abilities and excellent qualities of mind and heart.
While painting scenes in the Macomb Opera House, he took in a young boy to mix paints and be of general utility. That boy was Joe Sosman, now senior member of Sosman & Landis, Chicago, the leading theatrical contractors, and outfitters in America. Joe Sosman made his fortune, but he never forgot how much he owed to Tom Harrison. And during all of the ups and downs of Tom’s career, Joe was his steadfast friend. The Chicago “Inter Ocean” of Sept. 8th contains the following brief account of his life:
Thomas B. Harrison who died recently at his residence, No. 27 Pleasant street, of slight paralysis occasioned by excessive mental labor, was buried with Masonic and G. A. R. honors Friday, Aug. 30, at his former home, Maquoketa, Iowa.
He leaves a sister and half-brother, as well as an adopted son, Samuel L. Seifried, to mourn his loss.
Mr. Harrison came of an excellent English family and was distantly related to the family of that name which was so conspicuous in England and has been in the United States, two of the members having been presidents.
He was born in Hull, England, Feb. 16, 1836. His preliminary and academical education was obtained there and, in this country, though he was an essentially self-educated man, and his attainments in the arts, sciences and general literature were extraordinary. He has an immortality of fame in this connection and by virtue of his material achievements.
He came to this country in 1850, with his father’s family, which settled in Maquoketa, Iowa, where he lies beside his father.
At the outbreak of the war, he enlisted in an Iowa cavalry regiment, but after a few months’ service was discharged on account of constant illness. When restored he again enlisted in Company B., Twenty-sixth Iowa Infantry, served to the end of the war and obtained a captaincy. He saw much service and was twice severely wounded at Fort Donelson and in Arkansas, from the effects of which he never recovered. He was a true soldier and a patriot.
At the close of the war, he came to Chicago and entered upon a successful career as an artist, and at the time of the great fire he was in the front rank of his profession. He was one of the founders of the Academy of Fine Arts and one of its ablest professors. He lost largely in the fire, and instead of resuming his business he concluded to indulge he love for travel and adventure and gratify his professional instinct by a trip abroad.
Thereafter he was a constant traveler for fourteen years in most of the European countries, also visiting Egypt, the Holy Land, becoming familiar with the language, habits, and customs of many people. He could speak and write several languages. He was a contributor to magazine literature on scientific and art subjects, but always over a nom de plume, hence not known to the public directly. On his return to the country, he was engaged in various pursuits in connection with art and obtained favor as a lecturer on foreign lands.
He had decided genius as an inventor. Among the most useful of his inventions are a steam hammer, a compressed air hammer, various improvements in manufacturing machinery, a stereotype printing machine for making printing plates for the use of the blind. The latter is in use in all parts of the world. The last year of his life, while in partial retirement, was devoted largely to the inventing and perfecting of typewriter machines.”
Harrison lies in rest at Mt. Hope Cemetery in Maquoketa, Iowa, near many members of his biological family.
The grave of T. B. Harrison, scenic art instructor to Joseph S. Sosman.
After Harrison’s death in 1895, Seifried and his younger brother Ed developed the latest improved on the stereotype maker and created the Seifried Braille Shorthand Machine. In the years following Harrison’s death, Seifried continued to pop up in newspapers, here and there.
On April 25, 1897, “The Chicago Chronicle” announced the following real estate transfer “North Fifty-ninth st., 112 ½ ft. w of Wright st. s.f., 25.28×124 ½, April 22 – M. A. Trainer to S. J. Seifried” (page 21). This pinpoints a location for Seifried in the late 1890s.
In 1900, “The Clinton Eye” reflected on the town’s history, again mentioning Seifried and Harrison. On June 23, 1900, “The Clinton Eye” reported, “Sometime after T. B. Harrison, another erratic genius, came here to paint the drop-curtain for the opera house. He was an artist of rare merit. Though not learned, he was well read, cultured. He painted the curtain, taught drawing, music. Was so pleased with Clinton remained two or three years. He painted and arranged a scenic exhibition, writing the accompanying lectures, and interesting the genial Will Graham, then publishing the Advocate, the late Henry Marvin and others, put the venture on the road, with varying success. While here Harrison grew very much attached to Sammie Seifried, son of W. J. The attachment was so reciprocal that young Seifried became his protégé. They toured the continent, returning located in Chicago. The protégé proved to be a genius too, of the inventive sort, and bringing forth a typewriter of extraordinary value, and the firm Harrison & Seifried ventured into the manufacturing business, successfully. A recent production is a typewriter for use by the blind, spoken of in highest praise by the Eastern press. Harrison died a year or two since, but Sam J. Seifried revers his memory by continuing the business under his name” (page 6).
I was surprised to read about an accident involving Seifried and his sister in 1906.
On Sept. 27, 1906, the “Henry County Democrat” reported “Miss Barbara Seifried Narrowly Escapes Injury. The following from the Galesburg, Ill. Republican Register of Monday will greatly interest the many Clinton friends of Sam J. and Miss Barbara Seifried:
The second railway-automobile accident to occur I the history of Galesburg, took place Saturday night when S. J. Seifried and sister, Miss Barbara Seifried, narrowly escaped severe bodily injury at the crossing of the Knoxville road and the Peoria tracks, of the C.B.&Q., their machine being struck by a freight engine and the occupants severely shaken up. The accident occurred shortly after 7 o’clock. The machine in which the Seifrieds were riding was a light Frankly touring car and they were out for a ride to Knoxville. At the crossing of the Knoxville road and the Peoria tracks the road makes a sharp turn and crosses the tracks at a right angle.
No notice of the approach of the freight train was brought to the ears of the pair in the auto, until just as they were on the tracks when Miss Seifried noticed the engine of the train, then almost upon them. It was too late to attempt to run the car over ahead of the train and Mr. Seifried’s hastily utilized what spare moments were left in the effort to back the car clear of danger, Miss Seifried having jumped when the danger became apparent. The efforts to back the car clear of the tracks was successful and the entire front end of the machine was smashed by the pilot of the locomotive, entailing a loss of several hundred dollars.
Fortunately neither of the occupants were severely injured, although both were badly shaken up and would not care to repeat their experience. No bones were broken, Miss Seifried having sustained a sprained ankle in the jump from the car seat to the ground while the close proximity of the crash between the car and engine pilot to Mr. Seifried served to give him a severe shaking up. The nervous shock and narrow escape was unusually severe, and even as late as this morning neither of the pair had completely recovered their normal nervous state” (p. 2).
On Jan. 9, 1913 the “Henry County Democrat” of Clinton, Missouri, announced: “All persons having claims against the estate of Barbara H. Seifreid, deceased, are hereby notified to present same at once to Samuel J. Seifried, 1712 Foster Ave., Chicago, Ill.” (page 8).
Seifried passed away on Dec. 29, 1912 in Chicago, Illinois, and was buried at the Englewood Cemetery in Clinton, Missouri. He was only 45 yrs. old at the time.
“Great Loss.
Sam J. Seifried Mourned by the Blind.
The death of Samuel J. Seifried, whose funeral service was held in Clinton Thursday afternoon, will be felt with keenest sorrow in all parts of the civilized world, on account of the service his life has brought to the blind.
For many years he has devoted his energies to inventions and devices for the amelioration of the condition of the sightless. When a young man he was an intimate friend of Thomas B. Harrison, an artist well known here, and accompanied him on a journey to France. Both became much interested in the Braille system of writing for the blind, which had not made much progress in later years; and upon their return devoted much study to a plan of bringing it up to date. After Mr. Harrison’s death, the opportunity at length came to Mr. Seifried to carry out a long-cherished plan of devoting his entire time to the needs of the blind; and he added to inventive genius, a good judgement that placed the venture on a sound basis that insured its permanence. The company was incorporated and closely associated with the founder was his younger brother Ed. A practical type writing machine was invented making the Braille characters, so that books and manuscripts were easily transcribed for the use of the bind. The business so broadened so as to take care of every necessity of these afflicted ones, and it stands alone in the world today, the only one of its sort in existence. A recent triumph of his inventive genius is a stenograph or shorthand machine suited for the use of the blind; and there are stenographers and even court reporters who use these machines, indenting characters on a long tape which they can afterwards readily read and transcribe on an ordinary typewriter.
So it is that his life was one of service, too, where it was most needed. And -to-day, wherever there are those in darkness, they love this man who has gone to his reward and will long mourn him as a friend and helper.
Clinton is proud that one of her sons was permitted to achieve so much of real good in the world; and we ae also rejoiced that his work is not to stop, but will be taken up and carried on by his brother.
The funeral service was conducted at the home of his father, Wm. J. Seifried, on North Third street, on Thursday afternoon at 2 o’clock, by Rev. A. N. Lindsey, who spoke words of appreciation of the departed and comfort to the bereaved relative. The house was filled with old time friends who braved shill weather to show by their presence their friendship and extend their heartfelt.
The interment was by the Masonic fraternity, which deposited the body in mother earth with beautiful ritualism” (page 6).
On Jan. 9, 1913, “The Henry County Democrat” announced, “Ed Seifried and wife arrived last night from Chicago, to accompany the remains of the late Samuel J. Seifried” (page 3).
The story of American scenic artist and studio founder, Joseph S. Sosman, begins like many other German-Americans. “Joe” was the grandson of George Sosman (1768-1848) and Catherine Wethers (1765-1842). On July 16, 1796, George, Catherine, and their two young daughters boarded a ship in Hamburg, Germany. They arrived in Baltimore, Maryland, on October 9, 1796, and settled in Hardy County, Virginia; an area now located in West Virginia.
1794 map of Virginia.
Joe Sosman’s father, Hiram A. Sosman, was the youngest of three sons born to the couple after moving to the United States. His two older brothers were George (1797-1863) and Jacob (1800-1866).
The Sosman family moved west to Ohio in 1821. In Chillicothe, George Sosman opened a bakery on Water Street, between Paint and Walnut. His shop was located near a major shipping route. Keep in mind that the construction of the Ohio & Erie Canal occurred throughout the 1820s and 1830s. Chillicothe became a major canal port, especially for merchants, mills, and meat processors. In the midst of the town’s progress, Hiram matured to adulthood and married his first wife, Eliza Green (1804-1839). The couple was married on February 26, 1828, and soon celebrated the birth of four children: George William Sosman (1832-1832), Mary Jane Sosman (1834-1916), William M. Sosman (1836-1912), and Maria Sosman (1838-1839). Eliza and their youngest child passed away in 1839.
Hiram married his second wife, Rachel Edmonds (1817-1896), on September 20, 1841. The couple celebrated the birth of three children, with two surviving to adulthood. Their daughter, Martha M. Sosman was born in 1844. Joseph S. Sosman arrived two years later on September 12, 1846. The same year that Joe was born, artist Henry Howe created the engraving, “Chillicothe, from the hill west.” It shows a picturesque view of the small town, with Mount Logan in the distance. Here is the link to Howe’s engraving: https://www.ohiomemory.org/digital/collection/p267401coll32/id/8264
Chillicothe, Ohio, in 1846. Engraving by Henry Howe.The woods near the Mound City Group in Chillicothe, Ohio. 2020.Fall foliage near Chillicothe, Ohio. 2020.
The Sosmans prospered in Chillicothe for almost another two decades. In 1850, the Sosman Household included Hiram, Rachel, and the four children: Mary J. (15 yrs.), William M. (13 yrs.), Martha (6 yrs.) and Joe (4 yrs.) Hiram and his father, George, operated a bakery. Sadly, the building burned to the ground two years later. Their disaster was included in B. F. Sproat’s publication, “The Great Fire: Chillicothe Ohio, 1852.” Sproat wrote, “Mr. George Sosman’s bakery on West Water street was established June, 1924. His son, Frank, says that when it caught fire, his father pumped water to extinguish the flames until the pump itself caught fire” (page 17).
A map and article about the great Chillicothe fire from 1852, listing the Sosman bakery on Water Street between Paint and Walnut.The Sosman bakery was located on Water Street between Paint and Walnut. This was right next to the Scioto River in Chillicothe, Ohio.
Joe’s older brother, William M. Sosman, followed in his father’s and grandfather’s footsteps. In 1858 he worked with his father at the Union Bakery, located on the west side of Walnut Street, between Water and Second St. Two years later, William introduced the first mechanical machine to make crackers. At the peak of his success, Civil War broke out.
Coin for William M. Sosman, the Chillicothe baker, was Joe Sosman’s older brother.The reverse side of William Sosman’s coin, recently listed and sold at NGC Coin.
Hiram was one of many prominent Chillicothe citizens who took a firm against slavery and supported the Union. He helped organize the Chillicothe Association on March 21, 1863. This group organized to oppose rebel sympathizers and the Knights of the Golden Circle.
William was the first to enlist, joining the 54th Reg. Ohio Volunteers. William later served in Co. F, 63rd Ohio Vol. Infantry, His final commission was second lieutenant in the 106th regiment, U.S. colored troops. He made quite a name for himself during the Civil War, and continued to make news for his heroic feats and accomplishment throughout the remainder of his life. Joe was especially close with his older brother, evening hiring William’s son, Fred H. Sosman, in the 1890s.
Joe enlisted as a private in the Union Army on May 2, 1864, mustering with Co. C if the 149th Regiment, Ohio Infantry. Soldiers for the 149th were recruited from Ross and Clinton Counties. This regiment was one of several, established for a 100-day service in 1864. The veterans from these regiments were nicknamed “The Hundred Days Men.” Although short-term and lightly trained, these troop freed veteran units from routine duty, such as guards, laborers and rear echelon soldiers, allowing troops to advance to the front line for combat. The 149th Regiment was organized at Camp Dennison near Cincinnati, Ohio, and mustered in as an Ohio National Guard unit for 100 days of service on May 8, 1864. They were under the command of Col. Allison L. Brown.
Col. Allison L. Brown pictured in Perkin’s book.
On May 11, 1846, Sosman was transferred to Co. A of the 149th Regiment. He was transferred on the same day that the regiment left for Baltimore, Maryland. The regiment became attached to the 8th Army Corps. From various points along the eastern shore of Maryland in June, they moved to Monocacy Junction on July 4. They were involved in the Battle of Monocacy Junction on July 9, with 100 casualties. On July 13 they moved to Washington DC, then advanced to Snicker’s Gap, Virginia. On July 20, they were attached to operations in the Shenandoah Valley and saw action with Mosby at Berryville on August 13. The regiment mustered out on August 30, 1864, completing their 100 days of service. On gentlemen from Sosman’s Company A, George Perkins, wrote of their return to Chillicothe:
“A special train was furnished, cars with seats in them, and we sped homeward. When we arrived in Chillicothe we were met by a large outpouring of the citizens, who, to music furnished by the German Brass Band, escorted us up town. We marched up Main Street, and we stepped proudly, but were saddened as we passed the homes of James Ghormely and Edward Armstrong. We were coming home, but these, our friends and comrades, never returned. They starved to death in Salisbury, N.C. prison pen. The good people of Chillicothe had prepared a dinner for us in the market house, and we did justice to it. After dinner we “fell in” for the last time. Marched up Paint street and drew up in front of the Court House, where after a few remarks by the Colonel we broke ranks, each went to his home, and the 149th Regiment, Ohio Volunteer Infantry, became a memory” (page 38).
Here is a link to Perkin’s publication, “A Summer in Maryland and Virginia; or, Campaigning with the 149th Ohio volunteer infantry, a sketch of events connected with the service of the regiment in Maryland and the Shenandoah Valley, Virginia” – https://archive.org/details/summerinmaryland00perk Perkins was credited as “a member of Company A, at the earnest request of his Comrades of the Regiment,” and publication was printed in Chillicothe.
George Perkins was in the same company as Joe Sosman in 1864.
At the end of the war, Hiram relocated his family to Macomb, Illinois. Only William remained in Chillicothe, where he continued to work as a baker. Meanwhile, Hiram established another bakery in Macomb.
Little is known about Joe Sosman’s artistic studies before the war. However, there was an art supplier on Second Street in Chillicothe . J.R. Whittmore placed a series of advertisements in the “M’arthur Democrat” during the 1850s. On Dec. 6. 1855, his advertisement stated,
“Artist’s Materials of every description furnished at short orders and fair process. A large supply of paints and brushes for Portrait Landscape Painters, Toy Paints and Best Water Colors on Hand” (page 3).
If Sosman dabbled in any type of painting before the war, he likely purchased supplies from Whittmore. In Macomb, Joe was recognized as a successful artist and sign painter. Newspaper articles and advertisements track both Joe’s social interests and sign painting career between 1867-1872.
Sosman’s first business partner in Macomb was fellow Independent Order of Good Templars member John B. Russell (1847-1909). John was the eldest son of Hiram Russell (1816-1893) and Elizabeth W. Vaughan (1825-1897). Russell was previously associated with the painting firm of Hail & Russell, “practical painters and paper hangers” (The Macomb Journal, 25 Oct., 1867, page 4).
Hail & Russell advertisement from 1867.Sosman & Russell advertisement from 1868.
On Dec. 6, 1867, “The Macomb Journal” listed Jos S. Sosman as Worthy Secretary of Olive Branch Lodge, No. 165, I.O. of G.T.” (page 1).
Membership certificate for the Independent Order of Good Templars, c. 1868.
Founded in 1851, I.O. of G. T. was a temperance group, working to promote the avoidance of alcohol and other addictive substances. Other I.O. of G. T. officers in 1867 included D.M. Graves, Worth Chief Templar; S.J. Clarke Past Worthy Chief Templar; Geo. W. Hamond, Worthy Financial Secretary; Mary Hampton, Worthy Vice Treasurer; T. Bonham Worthy Chaplain; J.E. Russell, Worthy Marshal; Tillie Graves, Worthy Guard; Junior Treasurer Russell W. Sen.” In 1868, J. B. Russell was listed as the Worthy Chief Templar of Olive Branch No. 165 (The Macomb Journal, 17 April 1868, page 1). In that same issue, Russell advertised his new business venture with Sosman.
On April 17, 1868, “The Macomb Journal” reported, “Our young townsmen, Sosman and Russell, have some time since formed a partnership in the business of painting. Their shop is on south Lafayette street over McClintocks wagon shop. Those who wish any work in their line are requested to give them a call.- We hear it said that Sosman is a real fine artist, and can letter a sign equal to the best” (page 3). The accompanying J. S. Sosman & J. B. Russell advertisement included the following information:
“SOSMAN & RUSSELL,
Tender their services to the people of Macomb and surrounding country as House, Sign & Ornamental painters, paper hanger, grainers & Glaziers,
A fair share of work is respectfully solicited, Shop over McClintock’s Wagon shop, South of Square, on LaFayette st.”
Sosman & Russell continued to place advertisements in the paper later that spring and summer. I have yet to uncover how long their firm lasted, or what prompted its dissolution.
In 1870, the US Federal Census listed Sosman as a painter, still living with his father, mother, and sister. He continued to be listed as part of the Sosman household until 1880. The scope Sosman’s painting projects began continued to expand throughout the decade. On April 12, 1872, “The Macomb Journal” mentioned Sosman’s sign painting work in “Our Chatter Box” section of the newspaper: “E. H. Black, one of Macomb’s enterprising Book Store men, has treated his establishment to a new and elegant sign; of course from the brush of Joe Sossman [sic.]” (page 3). His painting works consistently made the local news, especially after finishing a new sign for the newspaper.
On June 21, 1872, Sosman placed an advertisement in The Macomb Journal (page 3):
“Stencil Outfit for Sale at a Bargain. – a complete set of Stencil and Key-Check Dies, consisting of three sets of Dies for cutting name plates, etc. – Two sets for making key and baggage checks, and material enough for making 300 name plates and a like number of key checks; also a lot of hotel room and baggage checks, inks, brushes, boxes, etc., and all tools necessary for working. Every thing complete and ready for traveling. To aa person wishing to travel in a light and profitable business, this is a rare opportunity. Tools, etc., from S. M. Spencer & Co., the best made. For particulars call on, or address, J. S. Sosman, Macomb, Ill.”
On August 29, 1872, the “Macomb Journal” reported, “That beautiful new sign, the handsomest in town, in front of the ‘Journal Office’ is the work of Joe Sosman, of whom there is not a more artistic sign painter in the west.” This was the beginning of Sosman’s intimate relationship with the press, and soon, Sosman was called upon to paint scenery at the local opera house. Sosman’s first scenic art project was at Chandler’s Opera House in Macomb.
Years later, “The Macomb Journal” remembered, “In 1873 [Sosman] was at his home in Macomb, Ill., and had partially painted the Macomb Opera House, when the owner sent to Chicago for an expert to put on the finer finishing touches” (May 26, 1886). Sosman worked as an assistant to Thomas B. Harrison. Harrison’s permanent residence was in Chicago, but like many itinerant artists at the time, he completed projects throughout the region.
Chandler’s Opera House in Macomb, Illinois.Chandler’s Opera House Block in Macomb, Illinois.Photograph of the Chandler Opera House block in Macomb, Illinois.
After the opera house opened, Harrison went on his way, and returned to sign painting. On Sept. 25, 1873, “The Macomb Journal” announced, “……..New signs have been flung out at the First National Bank, Davis’ grocery store, Philpot’s photograph rooms, and Bowles grocery store; they are artistic in design, and of course the work of that excellent artist, ‘Joe Sosman.” On Oct. 9, 1873, “The Macomb Journal” reported, “Business Directory. Macomb’s talented young artist, Joe Sosman, is engaged in getting up a business directory of our city, different from any heretofore gotten up. It will be some 18×24 inches, then center of which will contain a photograph of McDonough Court House. Around this will be grouped Business Cards. Quite a number of cards will be printed, framed and hung up in the Dept, Hotels, and other prominent places of resort in the county. As an advertising medium, it will surely pay. We bespeak him a liberal patronage among our business men”(page 2).
Sosman’s success prompted him to embark on new business ventures. On April 30, 1874, “The Macomb Journal” reported, “Our enterprising and energetic fellow townsmen, C. Hamilton and Jos. Sosman, have purchased an out-fit and will travel through the states with beautiful and instructive “Sun Picture” entertainment. They have purchased entirely new pictures, and the most powerful magnifying instrument manufactured. They intend giving an entertainment in this city next week, after which we will give them a more extended notice. In the meantime we hope that every citizen of this town will turn out to their exhibition, and give them a good ‘send off’” (page 3).
I need to clarify exactly what Sosman and Hamilton were peddling. Their sun picture entertainment is not to be confused with the photographic process of using the sun to capture and image; that practice was also referred to as “sun pictures.” On October 31, 1874, “The South Bend Tribune” advertised “A Fine Entertainment. Hamilton & Sosman will give an exhibition of colossal sun pictures, representing a tour round the world at Good’s Opera House, on next Monday night, which will be free to all” (page 4). This was a magic lantern show.
Hamilton & Sosman advertisement from South Bend in 1874.
I was curious about Sosman’s second business partner, Hamilton, so did a little digging. Charles Wilson Hamilton (1853-1901) was the son of G. W. Hamilton, a hardware merchant in nearby Prairie City, Illinois. For geographical context, Prairie City is located only 10 miles northeast of Macomb. In 1870, the US Federal Census listed Hamilton as living with his family in nearby Prairie City. Sosman and Hamilton’s business venture did not last a year. By 1875, Hamilton returned to his family home. In 1880, he was listed as Dry Goods Merchant in Prairie City, a profession he continued until his passing in 1901.
The downfall of Hamilton & Sosman in 1874 may have been competition. In 1874 there were many other sun picture entertainments, including the the Tremain Sun Picture Troupe and Leslie’s sun pictures and concert troupe. These two touring shows were much more impressive and littered regions with advertisements. From a cultural context, Sun pictures” had been popular for quite a few years by this point. Some Sun pictures blended scenic illusion with projections. On Jan. 27, 1870, “The Baltimore Sun” published an advertisement for Prof. Merchant’s Sun Pictures at the Maryland Institute (page 2). His advertisement promised, “Remarkable, exquisite, instructive and pleasing chemical dissolving diorama of cities, ruins, plains, lakes, mountains, rivers, forest and valley. Depicted with remarkable fidelity. Each picture fourteen feet square, and not hastily drawn and painted, but the combined efforts of the Best Artists in the Country. The public can form no estimate or magnitude of this singular and beautiful entertainment, unless and optical demonstration is had. Admission 25c; Reserved seats 50c. Children accompanied by parents, 15 c. Family Matinee Saturday Afternoon.”
In 1874, Hamilton & Sosmans’ sun pictures entertainment competed with Tremaine’s Colossal Sun Pictures of Travel and Art. On Nov. 4, 1874, “The Times Herald” of Port Huron, Michigan, advertised the themes for daily shows: Wednesday Evening – From New York to Jerusalem; Thursday Evening – The Splendors of Paris, the Ports of the Mediterranean and the old City of Rome; Friday Evening – “Central Europe,” Italy, Switzerland and Germany; and Saturday Evening – From Constantinople to Jerusalem – A Grand Tour through the Bible Lands (page 8). On May 7, 1874, “The Oskaloosa Herald” in Iowa reported, “The Tremaine Sun Picture Troup exhibited at City Hall some half a dozen evenings, and is highly spoken of by all who saw the exhibitions. We can recommend it to our brethren of the press” (page 2).Five years later, on May 6, 1879, “The Junction City Times” reported, “The sun picture entertainment at Centennial Hall, on Monday, Tuesday, Wednesday and Thursday evenings, next week, will be rendered by the aid of a powerful calcium light, and the views will be as plain and beautiful as the original. The entertainment will consist of views in every part of the world” (page 3). Previously, artists crossed the country with illustrated lectures featuring moving panoramas. This remained
Despite the failure of Hamilton & Sosman, Joe continued to travel. On Jan 7, 1875, “The Macomb Journal” reported, “Joe Sosman, Macomb’s artistic painter, has gone to Mount Sterling to do some fine painting on a new hall in that place” (page 4). Mount Sterling, Illinois, was approximately 40 miles due south of Macomb. 1875 seemed to be a transition point for Sosman, redirecting his focus to scenic art opportunities. His scenic art skills, acquired while assisting Harrison in 1873, became a very valuable asset on the road. Scenic art projects were considerably larger and much more lucrative than commercial signs and decorative painting.
To fully appreciate Sosman’s transition from sign painting to scenic art, I will explore the life and career of Thomas Benjamin Harrison in my next post.
This is my last Sosman & Landis employee biography – number 100!
I began this journey on March 28, 2021, with the story of Frank Landis, Perry’s younger brother and salesman for the firm. At the time, I had a few dozen names and planned to spend only a couple months researching and writing biographies. Fortunately/unfortunately, new names continued to pop up all over the place as I read newspaper articles and searched various databases. Never in a million years could I have anticipated writing one-hundred biographies over the course of twenty months.
As planned, I have a garnered a great sense of the various personalities who passed through the studio over the course of several decades.
This last employee – A. M. Paton – ties many loose ends together. I first encountered Paton in a Sosman & Landis newspaper article while researching George Wood and Lawrence Donohue. His tale really sums up the experience of so many artists who left everything familiar and settled in the United States during the 1880s. In my opinion, this particular decade was a golden era – the perfect time to begin work as a scenic artist in America. There was a greater demand for scenic illusion than scenic artists to paint it, especially in the western United States where the construction of new theaters offered endless opportunities and high profits.
Paton, like both Joseph S. Sosman and Perry Landis, also invested in a variety non-theatrical business endeavors. I have now encountered numerous artists who dabbled in newspapers and real estate. How brilliant, as good publicity and a good location remain key to the success for many artists and businessmen.
From Newcastle-on-Tyne, England, to Ulysses, Kansas, in the United States, here is Paton’s tale.
Advertisement in the Ulysses Tribune. March 14, 1888, page 1.
Alexander M. Paton was born in Edinburgh, Scotland, in 1858. He was the son of Alexander Paton Sr. (1818-1894) and Margaret Russell (1820-1891). One of ten children born to the couple, his siblings included: Jane (b. 1843), Genia (b. 1844), John (b. 1845), William (b. 1847), Elizabeth (b. 1848), Mary (b. 1849), Agnes (b. 1850), Margaret (b. 1855), Robert (b. 1860) and Richard (b. 1963). Between the births of the two youngest sons, Robert and Richard, the Paton family moved from Edinburgh, Scotland, to Berwick upon Tweed, England. Berwick is a town at the mouth of the Tweed River, approximately 56 miles southeast of Edinburgh and 65 miles north of Newcastle upon Tyne. For geographical context, the Tweed River is the demarcation line between Scotland and England along the east coast of each country.
Paton came of age working for his father in Berwick. He worked alongside his younger brother, Robert, in their father’s bookstore. A. Paton & Sons, bookseller, was located at 51 High Street in Berwick-on-Tweed in England. The 1879 Post Office Directory of Durham and Northumberland listed Alex Paton as a stationer in on High St., Berwick-on-Tweed, with the Trade Section of the Directory listing Paton as a bookseller – A. Paton, High St., Berwick-upon-Tweed. Berwick’s town center is Mary Gate and High Street, placing the Paton’s in the center of town.
The 1881 England Census listed the Paton family living at 49 Mary Gate, listing Alexander Paton Sr. as a bookseller and printer. The occupations of his three sons were as follows: Alexander Paton Jr. (23 yrs., bookseller), Robert R. Paton (20 yrs., printer and compositor), Richard Paton (18 yrs., chemist and druggist). Other members of the household at the time included Alexander M. Paton Sr. (62 yrs., bookseller and printer) and Margaret R. Paton (25 yrs., housekeeper).
Sometime in 1886, or early in 1887, Alex Paton Jr. began reading the “Grant County Register,” published in Ulysses, Kansas. Possibly sent by a friend, this newspaper was first published on July 21, 1885, for a town of approximately 500 settlers. At the time, A. Bennett was the editor and proprietor, with Charles D. Majors as the general manager. Grant County’s “Register” began as an eight-page folio, with the first number printed in Lakin, Kansas; the printing press was late upon its arrival to Ulysses. For geographical context, Ulysses is located in southwestern Kansas, about halfway between Wichita, Kansas. and Pueblo, Colorado; 45 miles southwest of Garden City, Kansas.
Map showing the Kansas towns of Ulysses and Surprise in Grant County, 1887.An early photograph of Ulysses, Kansas.
On June 1, 1887, the “Ulysses Tribune” reported, “A. M. Paton of Newcastle-on-Tyne, England, arrived in New York on the 23d ult., and is now located in Ulysses. He is an old friend of Harry King and T. D. Hind, who were glad to greet him.” Both Harry King (1858-1946) and Thomas D. Hind (1848-1940) were fellow Englishman. Hind moved with his family from England to Illinois in 1877, continuing west to settle in Kansas by 1878. King also emigrated with his family to the United States (by way of Canada) in the 1870s, settling in Kansas and starting a family by 1880.
On June 4, 1887, the “Grant Country Register” also announced Paton’s arrival (page 5). The article detailed, “A.M. Paton arrived Monday from Newcastle on Tyne, England, and is the guest of his old friends, Mr. and Mrs. T. D. Hind, of Riverside hotel. This is Mr. Paton’s first introduction to America, and he says it suits his taste better than old England. He read the Register across the waters, and the contents of the paper induced him to make the voyage. He was disappointed at every city he visited in Kansas except Ulysses, which agreeably surprised him. Mr. Paton will make this city his future home.”
Thomas D. Hind was part of the Kansas, Land, Loan, Irrigation & Investment Co. of Hutchinson County, Kansas.
One of many advertisements placed by Hind in newspapers during 1886.
Hind was named in advertisements in 1886 attempting to entice settlers to Surprise, Kansas promising, “the benefit of good schools, churches and the best of society” (The Surprise Post, 6 July 1886, page 8). Surprise was purportedly located twenty miles due south of Hartland. In 1886, Hind not only was an official agent for the Surprise Town Company, but also was proprietor for The Prairie Queen hotel there.
Hind’s ads in “The Surprise Post” stated:
“T. D. Hind,
Agent for the Surprise Town Company,
Is empowered to offer special inducements to investors. The lots have been placed at low prices, in order to build up the town and make money for the purchasers. Come early and secure choice lots in one of the most promising towns in Southwest Kansas. Correspondence solicited. Address T. D. Hind, Surprise, Hamilton County, Kansas.” (The Surprise Post, 10 June 1886, page 8).
Although Hind initially promoted the new town of Surprise, Kansas, he soon set his sights on Ulysses, Kansas. Ulysses is located approximately 14 miles south of Surprise
On Oct. 30, 1886, the “Grant County Register” announced, “T. D. Hind, formerly town agent of the Surprise Town Co. and landlord of the Prairie Queen hotel at Surprise, has rented and taken personal charge of the Riverside hotel, Ulysses, which he is giving a thorough renovation. Mr. Hind is an experienced hotel man and will run the Riverside in a creditable manner. The table is first class” (page 1).
One of Hind’s Riverside Hotel advertisements in the “Ulysses Tribune,” 1887.Hind remodeled the Riverside Hotel during the summer of 1887.A. M. Paton stayed at the Riverside Hotel as a guest of Thomas D. Hind upon his arrival to America in 1887.
Interestingly, Hind was not always popular with everyone.
I am including a few more articles about Hind to “set the stage” for Paton’s arrival in 1887. On Nov. 19, 1886, the “Garden City Daily Herald” included an article entitled “Pistol Practice” about Hind reporting:
“A shooting scrape occurred at Ulysses Wednesday between T. D. Hind and A. D. Hunt which came very near to resulting in the fatality as to the latter party. Hunt followed Hind into the post office and commenced abusing and applying all sorts of offensive ephithels to him when Hind pulled out his revolver and fired five bullets at him. The first two shots went into the ceiling, but the third and fourth shot struck Hunt in the right side, just under the arm, the bullet coming out of the back under the shoulder blade. Mr. Kiarney stepped in about this time and caught Hind, but was unable to control him until he had emptied his revolver. None of the shots, however, took effect. The shooting caused intense excitement. Hind was arrested by the constable, Daniel Springer, and was bound over to appear at the district court in the sum of five hundred dollars. At last accounts he had not succeeded in securing bonds and will probably have to go to jail. Mr. Hind has a wife and two children and is running the hotel at Ulysses. We are informed that he has but few friends in the community. It is thought that with good care Mr. Hunt will recover, although his wound is very painful and only missed the heart a few inches” (page 1).
On Feb 12, 1887, the “Grant County Register” reported, “We were glad to see T. D. Hind return to Ulysses Sunday. Mr. Hind was bailed out by the Ulysses Town Company” (page 8).
In the spring of 1887, Hind was living at his Riverside Hotel, but began to expand his real estate acquisitions. On April 16, 1887, the “Grant County Register” reported, “Joseph Bittiker’s house has been rented by T. D. Hind, of the Riverside, who will use it for sleeping accommodations for his numerous guests” (page 5).
Although Hind lived at the Riverside hotel, he was building a large home on the outskirts of town. During construction, his wife and children lived in a “shanty” at his land claim. On April 20, 1887, “The Garden City Sentinel” provided a little glimpse into Hind’s shanty (page 3):
“T. D. Hind went out to his claim with a covered hack to bring his family into town, and on arrival at the shanty he found his wife and children in a sad predicament owning to the water running into the house. The house is five feet in the ground. It was not made waterproof. Mr. Hind is building a fine residence on the southeast corner of the claim, in full view of Ulysses, Cincinnati and Surprise.”
A few months later, Paton was Hind’s guest at the Riverside Hotel. After deciding to stay in the area, Paton placed an advertisement for work in the “Ulysses Tribune.”On June 11, 1887, Paton’s advertisement listed that he was a “sign painter, decorator, and artist in oil colors [who] undertakes all kinds of work in this line. For moderate estimates apply at the Riverside Hotel.” His advertisement was also mentioned on the front page: “Read the advertisement of A. M. Patron, artist, in this issue.” There are a few things to consider. The first is that when Paton arrived in Ulysses (at the age of 29), he advertised himself as a painter. I highly doubt that he embarked on an entirely new career at this time. In other words, his advertisements as an easel artist, sign painter and decorative painter suggest some training and past experience in England.
On July 23, 1887, the “Grant County Register” reported, “Mr. A. M. Paton, who lately arrived in Ulysses from England, is in receipt of several letters from his father, who cannot for the life of him, in merry England, conceive how a habitable house can be built here for ten pounds. To give Mr. Paton’s inquiries, his surmises and doubts, would fill an interesting column. We ask him to address a letter to the Register.” This was the same paper that Paton first read in England, likely the same newspaper that was still being sent to his father’s bookstore. It indicates that his family knew where he was and stayed in contact.
Nineteenth-century photograph of frame houses in Ulysses, Kansas.
Some of Paton’s earliest painting projects in the area were contracted by Hind. On June 15, 1887, the “Garden City Sentinel” reported, “A. M. Paton, a new arrival in Ulysses, from England, has a painted picture of the Riverside hotel and is at present engaged on one of Dr. C. B. Core’s new residences. Mr. Paton will also paint the signs for the new Edwards hotel.” Hind also owned and managed the Edwards hotel in Ulysses. He remained associated with the property until the fall of 1887, when “The Grant County Register” reported, “T. D. Hind has withdrawn from the management of the Hotel Edwards, his successor being G. S. Hoffecker.”
Paton’s name continued to appear in local newspapers, providing insight into not only his past life, but also his current activities in Kansas. On October 12, 1887, the “Ulysses Tribune” reported, “At the literary Wednesday evening, Mr. A. M. Paton read ‘Tam O’Shante’s Tale’ in the Scotch dialect. Mr. Paton is a native of Edinburg, and his rendition of this popular poem was easy and natural and the dialect perfect.” Here is a link to “Tam o’Shanter” by Robert Burns: https://www.scottishpoetrylibrary.org.uk/poem/tam-o-shanter-tale/
By the fall of 1887, Paton began to diversify his employment and investments in the region. On Nov. 9, 1887, the “Ulysses Tribune” announced, “Mr. A. M. Paton has accepted a position with this paper in the capacity of business manager, and will lend his time and labors toward increasing the patronage and circulation of the Tribune.” This was only six months after the newspaper was founded by George W. Perry, providing Paton with a wonderful opportunity to promote both himself and his various activities.
A, M, Paton listed as the business manager for the Ulysses Tribune in 1888.
In addition to the newspaper position, Paton began investing in local business enterprises. On Dec. 21, 1887, the “Ulysses Tribune” reported, “A. M. Paton and Wm. Brown will erect a building on Central Avenue to be used as a barber shop and bathroom. Work is to be commenced at once.” The bathhouse opened, listing Paton as the sole proprietor. He placed a series of advertisements in the “Ulysses Tribune” for several weeks.
An advertisement placed by A. M. Paton for his bathhouse in Ulysses, Kansas.
By the beginning of 1888, Paton began to travel throughout the region. On Jan. 21, 1888, the “Garden City Register” announced, “H. G. King, A.M. Paton and W.B. Rorick were in Garden City this week” (page 5). All the while, he continued to paint. On March 7, 1888, the “Ulysses Tribune” announced, “A. M. Paton has painted a very handsome sign for H. G. King’s real estate office” (page 1). By this time, Paton, King, and Hind were all investing in land. In the end, however, they failed to pay the necessary taxes and were subsequently listed as delinquent tax payers. This prompted a swift relocation for all parties involved.
By the fall of 1888, Hind and Paton had left town. In October, Paton put his house up for sale and moved west to Kansas City, Missouri. He placed advertisements for his frame house, measuring 12×16, in the “Ulysses Tribune”. The advertisement listed – “House for sale. A 12×16 frame house for sale belonging to A.M. Paton. House now located at the east end of Prospect Avenue, Ulysses. Will be sold cheap for cash. Apply at this office.”
Similarly, Hind moved from Ulysses to Hutchinson, Kansas. On Nov. 23, 1888, “The Larned Eagle-Optic” reported, “Mr. T. D. Hind, of Hutchinson, a professional dresser and trimmer, who learned the business in London, England, and subsequently followed it to New York and Philadelphia, spent last week in this city dressing the show windows and decorating the interior of the Boston Store, and completed the work in genuine metropolitan style, displaying rare genius in the artistic arrangement of draperies and the harmonious blending of colors. The Boston Store in consequence presents a most beautiful and attractive appearance, equal to anything that can be found in our largest cities. Mr. Hind, we are informed, will pay this city another visit shortly before Christmas and dress the Boston Store in its holiday attire” (page 3). There is absolutely no mention of his stay in Surprise, Ulysses, or any past land investments.
As for Paton, by the spring of 1889 he was living Kansas City, Missouri. Paton was listed in the City Directory as working at 124 Commercial block, and rooming at 717 Penn. He continued to take out advertisements, marketing himself as a Scottish artist.
On April 7, 1889, he advertised in the “Kansas City Times”:
“Personal – Alec Paton, artist, from Edinburgh, Scotland, gives lessons in oil painting morning or evening, 50 cents per lesson. Visitors are invited to the studio. Room 124, 1108 Main st.” For geographical context of the location, the W. W. Findlay art store was located a few doors away at 1112 Main. Findlay ran a well-known establishment, originally founded in 1870.
Advertisement in the Kansas City Directory for W. W. Findlay.
Paton continued to run advertisements that spring, each with a little variation:
April 16, 1889, “Kansas City Times” – “Aleck Paton, artist, teaches drawing and oil painting in a few lessons; 50 cents a per lesson, room 124, 1108 Main.”
May 15, 1889, “Kansas City Star” – “Aleck Paton, artist, gives lessons in painting daily; pupils always successful; exhibition of work shortly; visitors invited. Studio 1108 Main st.”
May 18, 1889, “Kansas City Star” – “Enlarge your own photographs life size – Crayon, pastel or oil portraiture taught in 5 lessons: proficiency guaranteed. Paton, artist, 1108 Main st.”
May 31, 1889, “Kansas City Star” – “A. Paton, artist, gives lessons daily in drawing, painting and art decorating; 3 hour lesson 50c; materials provided. Studio 1108 Main st.”
Paton did not remain in Kansas City for long, and moved to St. Louis, Missouri by the fall of 1889. Paton traveled quite a bit during his time, advertising in many other newspapers across the country, including the “Tarborough Southerner” in North Carolina, always listing his home residence as 1114 Olive Street.
Advertisement by A. M. Paton in 1891.
In addition to offering art lessons, Paton began advertising “crayon portraits,” rapid sketches in pencil or charcoal. Paton’s new home and studio was located at 1114 Olive. He advertised in both St. Louis and St. Joseph newspapers. On March 16, 1890, the “St. Louis Globe-Democrat,” mentioned A. M. Paton performing as “the crayon artist” as part of the Arcade Club Entertainment at West St. Louis Turner Hall, located on the corner of Beaumont and Morgan streets (page 8). Paton’s artistic performance was listed alongside musical entertainment for the evening. His title as “crayon artist” changed to “lighting artist” the next month. On August 6, 1890, the “St. Joseph Herald,” listed Mr. A. M. Paton as a “Lightning Sketch Artist” who was part of Ideal Mandolin Club Plays program (page 7). Lightning artists were very popular at the time, recognized as stage performers who entertained crowds with quick sketches. Their performance often includes narrations by the artist and funny tales, while drawing, painting, or sculpting clay.
It was likely his Lightning artist act that brought him into contact with P. J. Toomey of Noxon & Toomey, St. Louis. Paton soon began representing the firm as a scenic artist and decorator. On April 6, 1891, “The Kearney Hub” reported, “Decorators Here. The opera house decorators did not arrive Friday as expected, but are here now. A. M. Paton, representing Noxon & Toomey, scenic artists, of St. Louis, and Messrs. Parquette and Coldewe arrived last night, The latter gentlemen were melting glue and grinding colors to-day, and to-morrow will begin the work on the ceiling. The foreman will be here ton-night” (page 3). He returned with Toomey for opening night at the Opera House and was again mentioned in “The Kearney Daily Hub” on May 2, 1891 (page 1): “In the other box of the second tier were seated P. J. Toomey, of Noxon & Toomey, the scenic artists, A. M. Paton, their representative here, and Miss Helen Harney.”
Interior of the Kearney Opera House on opening night, 1891.
This is quite significant and indicates the value that Toomey placed on Paton’s work. It is unusual for a studio owner to very publicly attend an event with an employee unless that individual is a great asset to the firm. By 1901, Paton is still working with Toomey, listed as the Secretary of the Toomey & Volland Co. However, Paton’s employment as a scenic artist in America tales many twists and turns before that.
In 1892, Paton partners with another artist named Keller to establish Keller and Paton. The two place the following advertisement in the “St. Louis Globe-Democrat” on July 10, 1892 (page 20): “Keller & Paton, artists, studio, 307 Hagen Opera House, Specialty – Fine Portraits; inspection invited.”
There were quite a few Midwestern artists who shared he last name of Keller. However, the likeliest candidate seems to be Jacob Keller, a German-born artist who worked in St. Louis from 1880-1915. In 1880, Keller was listed as a fresco artist in the St. Louis Directory. He remained in St. Louis, working as an artist until his passing in 1915. Both of Keller’s son’s, Arthur and George, followed in their father’s footsteps and were listed as “sign writers” in the 1900 US Federal Census. In 1892, Jacob Keller was 45 years old, and Alexander Paton was 34 yrs. old.
A month later, the “St. Louis Globe-Democrat” mentioned Keller and Paton transparency paintings in an article entitled “Panorama of Light” –
“The illumination test last night was a magnificent success, and the down-town thorough-fares looked like street of Candy Town in Fairyland. Thousands upon thousands of many-colored globes shed their mellow lines upon the enchanted crowds that thronged to see them; electric lights almost without number flashed in gorgeous festoons from every meeting of the vast network of wires on Broadway, Twelfth and Olive streets, Washington and Franklin avenues; and dozens of colossal set pieces told in pictures of flame the story of the nation’s discovery, growth and prosperity. The beauty and colossal proportions of the display outrivaled anything ever before attempted in the world. For without electricity competition would be in vain; and the present is the most costly and extensive electric illumination ever contracted for.
The ‘test’ display of last night was begun a few moments before 7 o’clock and lasted until 8:30. The arches, gas and electric, on Broadway, Olive street, Washington and Franklin avenues were first turned on, making the several streets light as noon. The green arch of the Presidents on Broadway, between Pine and Chestnut, the transparency of the sailing and landing of Columbus on Broadway and Locust street and the accurate likeness of Washington at Broadway and the avenue of his name all inspired unbounded admiration. The Columbus portrait at Thirteenth and Olive streets looked natural as life. The painting of the transparencies was executed by Keller and Paton, and are really admirable from an artistic stand-point. The greatest terrestrial globe at Broadway and Olive was somewhat tardy in lighting up, but at 7:45 it began to whirl on its axis, and the oceans, islands and continents, sprung out in bold relief. The globe is the Kohinoor of the illumination. The Santa Maria arch at Twelfth and Market streets, vying for supremacy with the great globe in point of beauty, created a decided sensation when finally lit. The quaint old-style ship, riding over gloriously tinted waves- and waves. Too, that seemed to swell and heave in brisk gale – was a sight certainly unique. The statue of Liberty in a new dress of bronze lifted her blazing beacon to the world as patiently and proudly as during the last year.
“Owing to the fact that the final touches had not been put on the star of the Western World set piece at St. Charles and Twelfth streets and the Grants flags, these two prominent designs were not illuminated. The electric power was found to be more than enough on the ‘Globe’ at Broadway and Olive, many of the small incandescent burning out completely and a large rent being made in the surface of the miniature earth. When the grand affair began to hiss and sputter threateningly the big jam at the intersection of the streets below resolved itself into a panic-stricken mob. The wife of a real estate man fainted and fell to the pavement. But for the timely assistance of Officer N. C. Vaugn the lady would have been trampled to death by the throng. She was revived at a drug store and was none the worse for the experience. Two little boys were knocked down by horses on Twelfth street, near Olive, but neither were injured on account of the slowness of the beasts.
“It is estimated that fully 80,000 people were on the streets last night. Nothing like the throng has been seen since last year’s Veiled Prophet’s parade, and it is doubtful if the thoroughfares were more ‘jammed’ then. The next illumination will be given on September 1.
“The illumination was the occasion of a large number of visitors to the new Globe-Democrat building, while waiting the grand display of electric lights and gas-jets, took advantage of the opportunity to inspect the largest and most perfect newspaper establishment in the world. They were shown through the mammoth building and viewed with interest the complicated machinery and latest appliances of modern invention to be found in an office building, as well as the intricacies of the interior workings of a great newspaper” (August 16, 1892, page 12).
In St. Louis, Paton purchased a home. On Jan. 17, 1893, He was listed in “St. Louis Globe-Democrat” when he purchased a home from the Tuxedo Park Land improvement Company for $500 (page 5). With a St. Louis home, Paton became subject for other civil duties in the cities, including jury duty. In the end, he was excused as he was not a US citizen. The article “St. Louis Post-Dispatch” from April 24 announced, “Are Not Citizens.” The article continued, Alexander M. Paton, an artist living at 10 South Sixth Street, and John T. Mooney, clerk at Scruggs, Vandervoort & Barney’s, residing at 2215 Sidney street were summoned to act as jurors in the Criminal Court this morning, but were excused on the ground that they were not citizens of the United States.”
Article announcing Paton’s excuse from jury duty on the grounds of non-citizenship statues, 1893,
He continued to work as an artist, and became secretary of the St. Louis Sketch Club (18 Feb 1896, St. Louis Globe-Democrat, page 4). Paton continued performing on the stage too. A very interesting article about his sculpture work made newspapers across the country. On Dec. 11, the “Albany Democrat” in Oregon described Paton’s latest performance:
“We hear a great deal about mud slinging during a political campaign. The St. Louis Republic tells of a case of genuine mud slinging that is very interesting and beats politics at every corner. At am entertainment the unique feature of the program was a surprise sprang by Mr. A. M. Paton, the well-known artist. He was down on the program for lightning sketch and modeling, and after the usual display of rapid picture making he had his assistant bearing forward a table covered with about 50 balls of mud. Standing in front of the platform he began throwing the balls at the surface of his modeling board, and before the audience quite understood the meaning of the queer proceeding, he had shaped the conglomerate mass of clay into the shape and features of a human head and face. With a few rapid strokes of his deft fingers a wrinkled face appeared, with hollow cheeks and sunken eyes of old age, the sweep of a comb, and a matted beard and mustache was there on an aged face, leering from the board. The artist was greeted by surprise applause, and without removing the clay changed the plastic mass, into the typical faces of all the races of men. The Scotman, Irishman, negro, Englishman and Chinaman, gave way to the American Indian, and them to the well-known face of Uncle Same. The face presented was the common in the end to all, the grinning skull.”
Paton continued to return to England and appears on the Outward passenger lists from the UK and Ireland on Jan. 5, 1901; sailing on the Umbria. Paton continued to live and work in St. Louis where he remained associate with P. J. Toomey’s scenic studio. Remember that in 1891 he represented Noxon & Toomey.
On May 10, 1901, Paton was working for Toomey & Volland at the Stone City Opera House in Bedford, Indiana. On May 10, 1901, “The Bedford Weekly Mail” reported, “Mr. A. M. Paton, Secretary of the Toomey and Volland Scenic Co., of St. Louis, has for several days been placing the scenery upon the stage of the new Stone City opera House, for its approaching opening and future mission. By courtesy of Mr. Paton we were permitted to view the splendid array of scenery, and were lead into a full detail of its arrangement, which owing to the complete and modern construction of the house, the gentlemen claim, will make a most satisfactory showing when completed – which we were informed will be about the last of this week – will constitute one of the most elegant and perfect working stages in Indiana.
“The Toomey and Volland Scenic Co., of St. Louis, enjoys the distinction of being the first in scenic art and stage equipment, and the management of the new Stone City has been very fortunate in securing work of their execution, and their personal services in dressing the stage.”
There is a little backstory that will provide context for Paton’s work at Noxon & Toomey and Toomey & Volland in St. Louis. All of the players really shape Paton’s scenic art experience. Patrick J. Toomey (1851-1922) was born in Limerick, Ireland and immigrated to St. Louis with his parents as an infant. He apprenticed himself to Thomas C. Noxon at Deagle’s Varieties. The two established Noxon & Toomey in 1869, with Ernest Albert joining them in 1881 to form Noxon, Albert & Toomey. Although it was a short-lived firm, it shows indicates the high quality of scenic artists passing through the studio doors at the time. At the time of his death, the “St. Louis Post-Dispatch” reported that Toomey was “considered one of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March 1922, page 14).
Studio stencil for Toomey & Volland.
Noxon passed away in 1898, but the firm of Noxon & Toomey continued for the next threeytears. In 1901 the name changed to Toomey & Volland, reflecting the new second partner, Hugo R. Volland. Volland rose through the ranks in a similar fashion to Thomas G. Moses at Sosman & Landis. Both Moses and Volland eventually took over the running of each firm. Toomey was a close friend of Thomas G. Moses of Sosman & Landis. Prior to the death of Toomey in 1922, the two studios shared both projects and artists over the years. So, when Paton begins working for Noxon & Toomey in 1891, it is under the leadership of senior partner Noxon. Toomey was the junior partner who frequently traveled for the firm, hence why he attended the 1891 opening of the Kearney opera house with Paton. Noxon & Toomey become Toomey & Volland after Noxon’s passing in 1898, but it takes a few years. At this point, Toomey becomes the senior partner, and Volland is the junior partner. The dynamic of the studio shifts. After Toomey’s passing, Toomey & Volland is immediately renamed Volland Scenic Studio.
Portrait of PO. J. Toomey from 1896.
The studio’s namesake, Hugo R. Volland, was born on May 6, 1866 in Großenbach, Germany. He was first listed as a St. Louis resident in 1888, living with his brother Otto Volland, and advertising as a painter. He first worked for Noxon & Toomey as a scenic artist and later secretary for the firm by 1892. By 1901 be was listed as vice-president of Toomey & Volland, with Paton stepping in as Secretary for the firm.
Volland Studio Stencil.
In regard to scenic projects that occurred during Paton’s time at both Noxon & Toomey and Toomey & Volland, it greatly varied as in many studios at the time. However, Toomey was best known for his electrical floats, and excelled in this line for over 25 years, placing his studio staff at the forefront of many projects. Paton likely gained much of his electrical knowledge from Toomey in the 1890-1891. This was immediately before he partnered with Keller on the Panorama of Light project in 1892.
In 1902, Paton briefly works with Sosman & Landis on a project in Bowling Green, Ohio. Although the newspaper misprints the initials of his first name, this is the same guy. On August 6, 1902, “The Daily Sentinel-Tribune” of Bowling Green, Ohio, reported, “F. A. Paton, representing the Sosman & Landis company, scenic artists of Chicago, was here yesterday making arrangements for the scene and curtain painting for the new Chidester theatre. The work will be handsome and attractive when done.” (page 5). The venue opened Dec. 19, 1902.
Sosman & Landis studio project pictured in the “Chicago Tribune, 2 Feb 1902.Sosman & Landis catalogue, 1894.
In 1904, Paton again relocates his home and business, heading west with many other scenic artists who recognize the untapped potential of the West Coast. In addition to an abundance of work, California’s temperate climate was ideal. Many Chicago scenic artists moved to the west coast, after apprenticing in Chicago. On Nov. 27, 1904, Paton sells his Tuxedo Park home at a loss, receiving $100 less than he originally paid for it (St. Louis Globe-Democrat, page 32). He journeys we where he purchases several properties from the Jacob Heyman Co. in San Francisco (San Francisco Chronicle and San Francisco Examiner real estate transactions, July 1905). He also buys property in Los Angeles from H. W. Wilson (Los Angeles Herald, 4 Nov. 1905, page 7).
Paton is listed in both the 1905 San Francisco Directory and the 1906 Fresno Directory, working as a scenic artist and living at 609 Jones. Other scenic artists listed in these two directories included:
Barr, A. L., 426 Eddy
Bell, George R., 660 Castro
Brooks, Joseph M., 361 Geary
Cutler, Frank E., 522 Van Ness Av.
Duran, Edward C., 8 Gough
Dye, Clarkson, 1418 California
Englander, Edward, 536 O’Farrell
Engwer, Charles F. 1117a Filbert
Fest, Oscar L., 1616 Turk
Grabach, Charles, 631 O’Farrell
Porter, W. T., 507 Mason
Rose, Charles F., 1117 Filbert
Sheppard, Arthur F., 676 Hayes
Williams, Edward S. 1281 O’Farrell
By 1910, Paton was listed in the San Diego Directory as a scenic artist at the Garrick Theatre, 1614 Front Street. The Federal Census confirmed Patron’s employment as a scenic artist, working on his “Own Account.” At the time, Paton was living as a boarder at 1614 Front in San Diego. He was boarding with a 40-yrs.-old widow, Maude M. Kelly, and her two teenage sons, John R. Kelly (son, 18), and James H. Kelly (son, 16). The census report listed Paton’s date of immigration as 1890, and that he was a naturalized citizen.
During the fall of 1910, Paton sold his Los Angeles property at the northwest corner of W 10th and Fedora Street. In the real estate transaction listing, he again listed his business residence as the Garrick Theatre in San Diego. Between 1911 and 1912, Paton also sold several of his San Francisco properties. This was likely to finance a new business venture with stage carpenter Thomas B. Wylie. The two established Paton & Wylie scenic studio in 1911. The 1911 San Diego Directory listed that the Paton & Wylie (AM Paton and TB Wylie) was located at 203 5th. In 1912, Wylie was listed as the stage carpenter for the Isis Theatre in San Diego, living at 1329 8th.
This partnership did not last for long. In 1912 Paton was listed solely as a scenic artist at the San Diego’s Savoy Theatre, living at 1431 First. He continued to reside at the same addressfor the next few years. By 1913, Paton partnered with fellow scenic artist, Frederick Rickeman (1874-1951) to form Paton & Rickeman. At the time, Rickeman was living in the Point Loma neighborhood of San Diego. In 1914, Paton & Rickeman, listing their studio as the Empress Theatre. Rickeman was listed in the 1915 San Diego Directory as living at 715 10th. By 1916, Paton & Rickeman listed Spreckels Theatre as their new business address. Interestingly, Spreckels Theatre was constructed in 1912 to commemorate the opening of the Panama Canal.
Rickeman was the son of German immigrants who had moved to California by 1911. Born in Phillipsburg, New Jersey on July 29, 1874, Rickeman worked as a scenic artist all over the country before heading west. His US Passport applications from 1890 and 1900 describe him as 5’-8” tall, with blond hair, blue eyes, Roman nose, round chin, oval face, fair complexion, and a moustache. A trip to France in 1903 resulted in marriage to his first wife Gabrielle. The two returned to the United States were Rickeman worked in New York as a decorator by 1905. In 1918, Rickeman married in second wife, Eva Minosa Forneri (b. 1890 in Minneapolis, Minnesota). The Rickeman’s celebrated the birth of two sons, David E. (b.1919, Indiana) and Donald J. (b. 1929, San Diego). After ending his partnership with Paton, Rickeman moved to LA where he continued to work as a scenic artist. At the time of his passing in 1951, Rickeman’s obituary identified him as a “film studio scenic artist.”
Paton remained in San Diego for the remainder of his life, continuing to work as a scenic artist on various projects. Unfortunately, Paton’s projects seem to dwindle in the post WWI years. The last mention of his work that I have located to date is from 1924; this is just one year before his passing. On Feb, 22, 1924, the “Weekly Times-Advocate” announced that Paton was one of two scenic artists working on the Escondido Fruit exhibit for San Diego County at the National Orange Show in San Bernardino, California. The article reported, “A. M. Paton and E. E. Knight, San Diego artists, were put in charge of the construction, and the exhibit was built there and taken in sections to San Bernardino, where the finishing touches were applied by Mr. McLean, Mr. Knight, and M. E. Salsberry, horticultural inspector at Escondido, who had charge of the mechanical end. C. E. Bell, assistant manager of the San Diego-California club, is now at the orange show, distributing San Diego literature and ‘selling’ the city and county to interested inquirers” (page 2).
Paton died the following spring on April 28, 1925. I have yet to locate any obituary or gravestone.
The biography for Lawrence Edward Donohue (professional name L. E. Donigan) is connected to Sosman & Landis employee No. 98, George Pat Wood. They were relatives.
Wood’s mother was Bridget “Della” Donohue/Donigan, the sister of scenic artist Lawrence E. Donohue/Donigan. Both Donohue and Wood worked as scenic artists in St. Louis and Chicago, as well as many other cities across the country. In 1913 they were associated with Sosman & Landis, painting stock scenery together for the Empress Theatre in Des Moines, Iowa.
Postcard of the Empress Theatre in Des Moines, Iowa.
I have been unsuccessful in my attempt to track down Donohue’s early theatrical career in either the 1870s or 1880s. This is not unusual if he were working as a scenic artist assistant or at a scenic studio during this time. Such is the case for many itinerant scenic artists who went from town to town looking for work. For example, when Sosman and Landis began their partnership in the mid-1870s, the continually traveled before selecting a permanent residence.
By 1890, Lawrence E. Donigan changed his name to Laurence E. Donohue. He was listed in the 1890 and 1891 Chicago Directories as an artist, residing at 20 Gurley. He remained in the region for the next few years, marrying Chicago-native Mary Muir Dinnervell on June 25, 1894. Interestingly, Mary’s maiden name also varied from Dinnervell to Drimervell, Dennerwell, and Dinnerville. The surnames were certainly a challenge this time! Their wedding announcement was published in Chicago’s “Inter Ocean” on June 26, 1894 (page 8).
Shortly after marrying, the couple relocated to St. Louis, Missouri and celebrated the birth of Lawrence Edward Donohue Jr. (May 1895). At the time, the small family was living at 1302 Sidney St. Lawrence. Lawrence was listed as an artist in the St. Louis City Directory in 1895 and 1897. The following year he celebrated the birth of a second son, James P. Donohue. Their stay in St. Louis was short-lived and the small family soon returned north.
By 1899, the Donohues were back in Chicago where their third son, Walter J. Donohue, was born. The couple celebrated the birth of at least two more children over the next several years. Mildred Donohue was born in 1901, with Mary Florence Donohue following in 1906. It is likely that more children were born, but did not survive infancy.
By 1900 the Donohue residence was located at 20 Vernon Park, Chicago; they would remain at this location until the 1930s.
It was also at the onset of the twentieth century that Lawrence E. Donohue changed his professional name to Lawrence E. Donigan. I have yet to find any official records which explains why census reports consistently listed Donohue or Donahue, but all newspaper references listed L. E. Donigan; they were the same person. Even his death certificate lists both names, suggesting that Donigan was simply an alias for work.
Lawrence E. Donigan continued to work as an itinerant scenic artist, traveling across the country for work. He was listed as the scenic artist for the Grand Opera House in Memphis Tennessee, during 1900. For a year, he was even listed in the Memphis Directory, rooming at 441 ½ Main. Scenic artists frequently listed themselves in local directories, despite having a permanent residence and family in another city. The key is “rooming, “boarding,” or just listing the address of a theater. This was to ensure that they were able to receive mail during extended absences from their permanent residence.
By 1902, he was working at the Academy of Music in Chicago, placing an advertisement in the “Chicago Tribune” on July 20, 1902: “WANTED FRESCO PAINTER: Must draw and paint ornaments. Academy of Music. L. E. Donigan.” This also foreshadows his transition to the decorative arts during the Great Depression.
Want Ad in the Chicago Tribune from July 20, 1902.
In Chicago, Lawrence also began working at Sosman & Landis, later securing a position for his nephew, George Pat Wood. Wood likely started with the firm about the same time as John Hanny and Art Oberbeck, c. 1905-1907.
Donohue continued to work for the Chicago-based firm under his professional name, L. E. Donigan. On July 8, 1913, both Donigan and Wood were mentioned in the “Des Moines Tribune” while working at the Empress Theatre in Des Moines, Iowa. The article reported, “…the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan [Lawrence E. Donahue], George Wood, and Arthur Overholt [Arthur Oberbeck] are rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”
Over the years, the Donohue family remained at their house on Vernon Park Place in Chicago, although the renumbering of streets shifted their house number from 20 to 857. Donohue/Donigan continued to work as a scenic artist until the 1920s, eventually drifting toward the decorative arts. The last mention that I have located of Lawrence’s scenic art work is in 1922. That year Lawrence E. Donigan was credited with painting the scenery for the Oliver Player’s production of “The Barrier,” an adventure melodrama. On April 29, 1922, “The South Bend Tribune,” reported, “L. E. Donigan, scenic artist for the Oliver Players, has endeavored to reproduce the actual atmosphere of the mining country with the aid of Mr. Burham, who has himself sent many months in Alaska” (page 6).
The Market Crash of 1929 changed everything for many scenic artists, including Donigan. John Hanny described the shifted in a letter to Dr. John Rothgeb: The depression of 1929 just about stopped the production of stage scenery – at least in Chicago. Road shows, musical, etc. if any were being produced in New York and Hollywood. At this point the studios disappeared but the scene painter couldn’t disappear and had to become freelancers. There was no such thing as a steady job and the boys were hard put to find a day’s pay.”
The 1930 US Federal Census reported that Lawrence Donahue was working as a painter in the building industry. I have yet to locate any newspaper reports for L. E. Donigan at this time. This is not unusual as scene painters gradually began to fade from the public notice.
During the 1930s, the Donahue family home moved from Chicago to Oak Park, the same western suburb that had housed many other scenic artists since the 1890s, including Thomas G. Moses and Joseph Landis (Perry’s older brother).
The 1940 US Federal Census listed the Donahue residence as 829 South Cuyler, Oak Park. The household included: Lawrence (head, 76 yrs.), Mary (wife, 68 yrs.), Marie (Mary Florence) Krbec (daughter, 33 yrs.) and Marcelle Krbec (grandson, 9 yrs.). Their son James P. Donohue, who had continuously lived with his parents since birth was missing that year. James P. Donohue’s 1942 draft registration card listed that he was working for the U. S. Army Signal Corps in Chicago. However, his home residence was still listed as 829 South Cuyler, Oak Park.
Both Lawrence E. and Mary Donahue passed away in 1944, within weeks of each other. Their two children, James P. Donohue and Mary Florence Krbec inherited the house, remaining in the Oak Park family home for at least another decade.
On Feb. 13, 1944, Mary Donahue’s obituary was published in the “Chicago Tribune” (page 18). It announced:
“Mary Muir Donahue, of 821 S. Cuyler avenue, Oak Park, beloved wife of Lawrence, fond mother of Lawrence E., James P., Walter T., Mildred M. Cotey and Mary F. Krbec, sister of Walter Dinnerville, Ina Frank and Louise Humphries. Resting at funeral home, 17, Madison street, Oak Park, Funeral notice later.”
Ten days after the announcement was published, Lawrence passed away on Feb. 23, 1944. The Illinois Death Index lists both surnames for Lawrence on his record: “Lawrence E. Donigan or Donahue.”
On March 2, 1944, the Oak Park Leaves announced,
“L. E. Donohue Dies;
Scenic Artist
Lawrence E. Donohue of 821 South Cuyler died on Wednesday, February 23, at his home after suffering from an ailment of two years standing. His wife, the late Mary Muir Donahue passed away on February 12 of this year. Mr. Donahue (known as Lawrence Donigan, professionally) was a scene painter and in years past painted scenery in the theatre throughout the United States, including New York Civic Opera House, Detroit Opera House, and Civic Opera House in Chicago and Ravinia. He was a business agent for the Scenic Artists’ union 350 for a number of years and was active until a few weeks before his death, despite poor health.
Born in Alton, Illinois, in 1864, Mr. Donoahue has resided in the village for the past fifteen years. He was the father of Lawrence E., Walter J., and Mirs, Mildred M. Coty of Chicago, and of James PO., and Mrs. Mary Krebec who live at home, and brother Peter J. Donigan and Mrs. Mary Berry of Chicago. Services on Saturday were conducted at Ascension church with burial at All Saints” (page 50).”
